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Red Head Gallery

401-115 Richmond Street West
Toronto, ON, M5V 3A8
(416) 504-5654

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Red Head Gallery

  • CURRENT
  • UPCOMING
  • PAST
  • ARTISTS
    • Jim Bourke
    • Geoffrey L. Cheung
    • Christine Dewancker
    • Tonia Di Risio
    • Soheila Esfahani
    • James Fowler
    • Grant Heaps
    • Gillian Iles
    • Alexander Irving
    • Sarah Kernohan
    • Ian Mackay
    • David McClyment
    • Laura Millard
    • Tazeen Qayyum
    • Amin Rehman
    • Lois Schklar
    • Pearl Van Geest
    • Elaine Whittaker
    • Associate Members
    • Creative Series
  • SUBMISSIONS
    • SUBMISSIONS
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  • About
    • ABOUT
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    • SHOP THE SHELF
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Gillian Iles

Gillian Iles is a Toronto-based artist who exhibits in cities such as New York, San Francisco, Brooklyn, Chicago, Miami, Montreal and Toronto.  In Toronto, she has exhibited with Katharine Mulherin and curator Mia Nielsen.  Gillian was a founding member of two co-operative artist-run galleries in Toronto - Propeller and Loop. Her work has been highlighted in Mix Magazine, Toronto Life Magazine, Now Magazine, Eye Weekly as well as the National Post and The Globe and Mail. She is featured in the book Carte Blanche Volume 2: Painting.  Gillian is part of Blunt Collective and Glasshouse Collective.  Gillian is currently teaching at OCADU, Sheridan College and the Toronto School of Art.

Gillian’s paintings combine rich vital realism and directed content with formal investigation of space, planar fracturing of space and scale, shifts between flat and modeled surfaces and a general consideration of the viewer as the final subject within the piece.

Ongoing areas of investigation are the existence of social ideals, social orders and idealized lifestyles especially as they pertain to Western culture; their origins, evolution and their role in forming public ideology. The role and influence of these social norms and their tenuous permanence are of particular interest. Specifically, their influence on individuals perceived and projected identities, the outsider’s perception of them and the primal inclination for generational shifts and challenges to the accepted ideals.

Imagery which captures or reflects these social ideals are used directly or are altered and manipulated to fabricate suggestive narratives. Bringing together generalized or iconic imagery sourced from the mass media with imagery that is personal, specific and unique creates new hybrid imagery with primary and secondary narratives occurring simultaneously.  These multiple narratives are intentionally discordant, but not altogether unrelated, and serve to directly influence and redirect each other’s interpretation. This directly relates to the ongoing interest in the manufacturing of public ideology and the role of imagery in affecting bias and interpretation.

www.gillianiles.com

Gillian Iles

Gillian Iles is a Toronto-based artist who exhibits in cities such as New York, San Francisco, Brooklyn, Chicago, Miami, Montreal and Toronto.  In Toronto, she has exhibited with Katharine Mulherin and curator Mia Nielsen.  Gillian was a founding member of two co-operative artist-run galleries in Toronto - Propeller and Loop. Her work has been highlighted in Mix Magazine, Toronto Life Magazine, Now Magazine, Eye Weekly as well as the National Post and The Globe and Mail. She is featured in the book Carte Blanche Volume 2: Painting.  Gillian is part of Blunt Collective and Glasshouse Collective.  Gillian is currently teaching at OCADU, Sheridan College and the Toronto School of Art.

Gillian’s paintings combine rich vital realism and directed content with formal investigation of space, planar fracturing of space and scale, shifts between flat and modeled surfaces and a general consideration of the viewer as the final subject within the piece.

Ongoing areas of investigation are the existence of social ideals, social orders and idealized lifestyles especially as they pertain to Western culture; their origins, evolution and their role in forming public ideology. The role and influence of these social norms and their tenuous permanence are of particular interest. Specifically, their influence on individuals perceived and projected identities, the outsider’s perception of them and the primal inclination for generational shifts and challenges to the accepted ideals.

Imagery which captures or reflects these social ideals are used directly or are altered and manipulated to fabricate suggestive narratives. Bringing together generalized or iconic imagery sourced from the mass media with imagery that is personal, specific and unique creates new hybrid imagery with primary and secondary narratives occurring simultaneously.  These multiple narratives are intentionally discordant, but not altogether unrelated, and serve to directly influence and redirect each other’s interpretation. This directly relates to the ongoing interest in the manufacturing of public ideology and the role of imagery in affecting bias and interpretation.

www.gillianiles.com

  Towards Eternal Glory,  2018 Installation view at the Red Head Gallery Photo by Thomas Blanchard

Towards Eternal Glory, 2018
Installation view at the Red Head Gallery
Photo by Thomas Blanchard

  You may be a winner      – installation view, 2016 Oil & acrylic on canvas, Winterstone, wood, steel & plastic Approximate dimensions (l,w,h) 132" x 132" x 114"

You may be a winner – installation view, 2016
Oil & acrylic on canvas, Winterstone, wood, steel & plastic
Approximate dimensions (l,w,h) 132" x 132" x 114"

  You may be a winner  – installation view, 2016 Oil & acrylic on canvas, Winterstone, wood, steel & plastic Approximate dimensions (l,w,h) 132" x 132" x 114"

You may be a winner – installation view, 2016
Oil & acrylic on canvas, Winterstone, wood, steel & plastic
Approximate dimensions (l,w,h) 132" x 132" x 114"

  You may be a winner      - installation detail, 2016 Oil & acrylic on canvas, Winterstone, wood, steel & plastic

You may be a winner - installation detail, 2016
Oil & acrylic on canvas, Winterstone, wood, steel & plastic

  You may be a winner      - installation detail, 2016 Oil & acrylic on canvas, Winterstone, wood, steel & plastic

You may be a winner - installation detail, 2016
Oil & acrylic on canvas, Winterstone, wood, steel & plastic

  We found ourselves within a dark forest  - installation view, 2015 Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe Dimensions variable

We found ourselves within a dark forest - installation view, 2015
Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe
Dimensions variable

  We found ourselves within a dark forest  - installation detail, 2015 Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe

We found ourselves within a dark forest - installation detail, 2015
Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe

  We found ourselves within a dark forest  - installation detail, 2015 Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe

We found ourselves within a dark forest - installation detail, 2015
Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe

  We found ourselves within a dark forest  - installation detail, 2015 Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe Dimensions variable

We found ourselves within a dark forest - installation detail, 2015
Oil & acrylic on canvas, Mylar, Masonite, digital print on MDF, ABS pipe
Dimensions variable

  We found ourselves within a dark forest  - installation view, 2015 Oil & acrylic on Mylar, digital projection

We found ourselves within a dark forest - installation view, 2015
Oil & acrylic on Mylar, digital projection

  You can only get there from here - stacks,  2015 - 2016 Triple box stack Oil and acrylic on Mylar and photo prints mounted on wood 3 pieces – 4" x 6.5" x 8", 4" x 4" x 3", 4" x 4" x 2"

You can only get there from here - stacks, 2015 - 2016
Triple box stack
Oil and acrylic on Mylar and photo prints mounted on wood
3 pieces – 4" x 6.5" x 8", 4" x 4" x 3", 4" x 4" x 2"

  You can only get there from here  - installation detail, 2013 Oil & acrylic on stretched canvas, Winterstone, wood and projection on clot

You can only get there from here - installation detail, 2013
Oil & acrylic on stretched canvas, Winterstone, wood and projection on clot

  You can only get there from here  - installation detail,2013 Oil & acrylic on stretched canvas, Winterstone, wood pigment & wax. 78" x 60" x 78"

You can only get there from here - installation detail,2013
Oil & acrylic on stretched canvas, Winterstone, wood pigment & wax.
78" x 60" x 78"

  You can only get there from here - A momentary decision of monumental significance,  2013 Oil & acrylic on stretched canvas, video on CRT TV. Triptych, 78" x 66", 72" x 16" and 78" x 54"

You can only get there from here - A momentary decision of monumental significance, 2013
Oil & acrylic on stretched canvas, video on CRT TV.
Triptych, 78" x 66", 72" x 16" and 78" x 54"

  You can only get there from here - A combination of nerve and wit,  2013 Oil & acrylic on canvas, Winterstone, wood & pigment. 102" x 116" (5 panels)

You can only get there from here - A combination of nerve and wit, 2013
Oil & acrylic on canvas, Winterstone, wood & pigment.
102" x 116" (5 panels)

  You can only get there from here - A combination of cunning, speed and astonishing grace,  2012 Oil & acrylic on canvas 78" x 48"

You can only get there from here - A combination of cunning, speed and astonishing grace, 2012
Oil & acrylic on canvas
78" x 48"

  You can only get there from here  - The Cathedral, 2013 Oil & acrylic on canvas Diptych, 72" x 120"

You can only get there from here - The Cathedral, 2013
Oil & acrylic on canvas
Diptych, 72" x 120"

  You can only get there from here  - That’s not how we do things here 05, 2012 Oil & acrylic on canvas Diptych, 70" x 140"

You can only get there from here - That’s not how we do things here 05, 2012
Oil & acrylic on canvas
Diptych, 70" x 140"

  That’s not how we do things here 04,  2011 Oil & acrylic on canvas 54" x 48"

That’s not how we do things here 04, 2011
Oil & acrylic on canvas
54" x 48"

  That’s not how we do things here 02,  2011 Oil & acrylic on canvas 40" x 48" 

That’s not how we do things here 02, 2011
Oil & acrylic on canvas
40" x 48" 


Friends Of The Gallery

Greg Johns

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Eleanor Misener

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Annabelle Kennedy

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Frank DeFelice

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Peter Kinch

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Nick Selemba

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Tanya Selemba

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Niyash Mistry

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Vicki Rodgers

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Diya Srinivasan

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Valerie Zwolak

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Greg Johns ● Eleanor Misener ● Annabelle Kennedy ● Frank DeFelice ● Peter Kinch ● Nick Selemba ● Tanya Selemba ● Niyash Mistry ● Vicki Rodgers ● Diya Srinivasan ● Valerie Zwolak ● Greg Johns ● Eleanor Misener ● Annabelle Kennedy ● Frank DeFelice ● Peter Kinch ● Nick Selemba ● Tanya Selemba ● Niyash Mistry ● Vicki Rodgers ● Diya Srinivasan ● Valerie Zwolak ●

Become A Friend of the Gallery - Learn More


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© 2021 LEGAL  401 Richmond Street West, Toronto, Ontario M5V 3A8 | 416.504.5654  |  INFO@redheadgallery.org

Gallery Hours | Wed - Sat, 12 - 5PM