Until the End of the Sea features artwork by Jenny Chen, accompanied with writing by Josephine Mwanvua. The exhibition runs from January 20 - 28, 2019, noon - 6 pm. The opening reception takes place on Sunday, January 20, 4 - 6 pm.
Water is a source of life for all living beings and nurtures growth and transition. It is commonly used in ritual and ceremony of most religions as a process of purification. On the contrary, water can also be unpredictable and its ability to refract light distorts reality. Reoccurring themes of Life versus Death, Love versus Hate, and Pleasure versus Suffering are depicted throughout this exhibition. -Jenny Chen
The artist wishes to thank the Ontario Arts Council for their generous support in helping make this exhibition happen!
Josephine Mwanvua
abovethestorm.blog
@wakeup.josephine
Opening reception: Saturday, December 8, 2 - 6 pm
Exhibition Hours: 12- 6 pm on December 8, 9, 15, 16.
2016 Wool and Linen 48 x 48 inches $4600
2018 Wool and Linen 48 x 54 inches
2017 Wool and Linen 30 x 24 inches $2600
2017 Wool and Linen 36 x 30 inches $3200
2017 Oil on Panel 30 x 24 inches $2600
2017 Wool and Linen 30 x 24 inches
2017 Wool and Linen 30 x 30 inches
2017 Wool and Linen 30 x 30 inches SOLD
2017 Wool and Linen 36 x 30 inches SOLD
2017 Wool and Linen 36 x 30 inches
2016 Wool and Linen 72 x 48 inches $5800
2017 Wool and Linen 30 x 24 inches $2600
2015 Linen and Wool 11 x 14 inches $900.
In this new body of work, Mireau draws inspiration from roots to rebar, blurring the edges between the industrial and the natural. Constructed of wood and metal, Mireau’s sculptures form a balance between the organic and the geometric while playing with gravity and scale.
Growing up in Saskatchewan, Mireau developed a fascination with abandoned, broken farm machinery. Weed-buried wagon wheels, splintered wooden axles, and other often unidentifiable objects led to his imaginings of their former lives and functions. Signs of Life builds on the earthy, elemental themes of his earlier work and moves beyond, offering new perspectives on the tension between the manufactured and organic, the terrestrial and the celestial.
This exhibition of elemental sculptures comes to United Contemporary on the heels of his monumental solo exhibition at the Art Gallery of Peterborough, curated by Fynn Leitch: https://agp.on.ca/exhibitions/rod-mireau-signs-life/
Mireau was born in Saskatchewan and is currently based in Peterborough. His work is held in collections in Canada, France, Germany, the United Arab Emirates, and the USA.
Photographs by by Priam Thomas
ash, walnut, fibreglass, marble dust. 6’ diameter, 2018
charred wood, 6' diameter, 2015. SOLD
installation view at the Art Gallery of Peterborough, 2018
steel, walnut. Individual pieces 4" x 5" x 12", 2018
aluminum, white ash. 10" x 24" x 32", 2018
douglas fir, 6' diameter, 2018
douglas fir, 6' diameter, 2018
aluminum, white ash, 10” x 24" x 32", 2018
aluminum, white ash, 3' x 3' x 8', 2018
steel, white ash, 12 x 16 x 95”, 2018
installation view
@unitedcontemporary October 13, 2018
sunlight, charred wood, polished steel
one of two commissioned sculptures installed at Pears condominium in Toronto.
An exhibition featuring young multi-cultural artists from across Toronto. Curated by Spencer Julien and Temple Marucci-Campbell.
Featuring work by Shellicka Anglin, Noah Brown, Isabella Ferrer Fernandez, Hailey Hanson, Luca Soldovieri, Teodore von Baeyer, and Alexis Vo.
This exhibition is grounded in concepts of individual identity and its intersection with one’s heritage and culture. Bonafide highlights personal engagements with the exploration of culture and the ways in which it influences the idea of “self”. Relationships between the work pose questions about the constructs of identity in the context of cultural history. Traditional cultural elements are used as variables in the realization of more personal and nuanced ethnographies.
Many of these artists have gained personal independence through engaging with their cultural identity — thoroughly understanding their own personal histories and using it to inform the stories they tell.
Presented with support of the Department of Canadian Heritage, Government of Canada.
----------------------------------------
Une exposition mettant en vedette de jeunes artistes multiculturels de Toronto. Curé par Spencer Julien et Temple Marucci-Campbell.
Avec le travail de Shellicka Anglin, Noah Brown, Isabella Ferrer Fernandez, Hailey Hanson, Luca Soldovieri, Teodore von Baeyer et Alexis Vo.
Cette exposition est fondée sur des concepts d'identité individuelle et son intersection avec son patrimoine et sa culture. Bonafide souligne les engagements personnels avec l'exploration de la culture et les façons dont elle influence l'idée de «soi». Les relations entre l'œuvre pose des questions sur les constructions de l'identité dans le contexte de l'histoire culturelle. Les éléments culturels traditionnels sont utilisés comme variables dans la réalisation d'ethnographies plus personnelles et nuancées.
Beaucoup de ces artistes ont acquis une indépendance personnelle en s'engageant dans leur identité culturelle.
Présenté avec le soutien du ministère du Patrimoine canadien, gouvernement du Canada.
Objects + Ritual is an exhibition of predominantly darkroom produced photograms with some digitally altered darkroom-based images. It expands on some of the ideas explored in the 2006 Contact exhibition Still Film, where different types of photographic film acted as still life objects.
This exhibition contemplates the purpose of objects. We fetishize objects. We collect some. We hoard others. Their meaning changes over time and across classes. Objects have both history and potential. The past ritual of having tea with Mom and Nonna is layered with their daily rituals of taking pills in old age. The juxtaposition of a kettle and these life-stretching pills, together with the devotional images of Christ and the Virgin Mary, the same ones that littered the homes of Paterson's Italian relatives, are memories which he represents in these photograms. They speak to various human attempts to stave off and transcend our inevitable mortality, where pills and private devotional rosaries compete for sainthood; and secular products become ritual objects.
These objects also represent other personal and universal histories. The wedding gift Mixmaster continues to function decades after the marriage broke down. The fan harkens back to cooler times. The toaster, disconnected from its power source, nevertheless pops. These vintage factory-made products have lived long past their built-in obsolescence dates, having secured their identity as family heirlooms, and objets d’art. We may spend less time than ever cooking in our kitchens, but we spend more money on kitchen objects than ever before. Whereas small appliances once freed us from the drudgery of domestic labour, today they are objects representing beauty and status. Kitchen porn to be consumed as much by gaze as utility.
The bicycle as muse, deconstructed: once a mere transportation mechanism to get from A to B, it has morphed into a symbol of freedom and leisure.
Opening reception: Saturday May 12th, 12-6 pm
Gallery hours during this exhibition are Saturdays and Sundays 1-5 pm until June 3rd.
Objects + Ritual was created between 2015 and 2018. All images are unique analogue darkroom prints, except for Mom’s Kettle and Bicycles Deconstructed, both of which are digitally produced inkjet prints, each limited to an edition of 10.
All frames custom made by The Gilder, Toronto, ON
http://scotiabankcontactphoto.com/2018/open-exhibition/united-contemporary-objects-ritual
16 x 20” fiber photogram ‘positive’ print from a paper negative, maple frame, white lacquer finish UV90 glass, Heat mounted on ragboard $2250
16 x 20 fiber photogram print, maple frame, black satin finish UV90 glass, Heat mounted on ragboard $2250 SOLD
16 x 20” fiber photogram ‘positive’ print from a paper negative, maple frame, white lacquer finish UV90 glass, Heat mounted on ragboard $2250
16 x 20 fiber photogram print, maple frame, black satin finish UV90 glass, Heat mounted on ragboard $2250
18 x 24” acrylic face mount on diabond $1800. (Edition of 10)
16 x 20” RC photogram print, maple frame, black stain finish UV90 glass, cold mounting on Dibond $2250
64 x 20” digitally altered photogram, acrylic face mount metallic inkjet print on Dibond $3500 (edition of 10)
15 3/4” x 16 7/8” pinhole photograph on RC paper, maple frame, black stain finish, UV90 glass, cold mounting on Dibond $2000 SOLD
8 x 10 photogram print, maple frame, black satin finish UV90 glass, 8ply white top mat, 4ply white museum board backing. Positive RC print from a paper negative collage made with a pinhole fragment, and hand-painted and sprayed (with developer) test strips in a lit room. $1250
8 x 10 photogram print, maple frame, black satin finish UV90 glass, 8ply white top mat, 4ply white museum board backing. $1250 SOLD
16 x 20” fiber photogram ‘positive’ print from a paper negative, maple frame, white lacquer finish UV90 glass, Heat mounted on ragboard $2250. SOLD
8 x 10” photogram positive photograph on fiber paper, maple frame, black stain finish, UV90 glass, 8ply white top mat, 4ply white museum board backing $1250
16 x 20” RC photogram print, maple frame, black stain finish UV90 glass, cold mounting on Dibond $2250 SOLD
8 x 10” photogram positive photograph on fiber paper, maple frame, black stain finish, UV90 glass, 8ply white top mat, 4ply white museum board backing $1250
16 x 20 fiber photogram print, maple frame, black satin finish UV90 glass, Heat mounted on ragboard $2250 SOLD
8 x 10” photogram positive photograph on fiber paper, maple frame, black stain finish, UV90 glass, 8ply white top mat, 4ply white museum board backing $1250 SOLD
14 ½ ” x 14 ½” photogram on RC paper, maple frame, black stain finish, UV90 glass, cold mounting on Dibond $1800 SOLD
16 x 20 fiber photogram print, maple frame, black satin finish UV90 glass, Heat mounted on ragboard $2250 SOLD
16 x 20” RC photogram print, maple frame, black stain finish UV90 glass, cold mounting on Dibond $2250
8 x 10 photogram prints, maple frame, black satin finish UV90 glass, 8ply white top mat, 4ply white museum board backing. $1250 SOLD
(2x)16 x 20” RC photogram prints maple frame, black stain finish,
UV90 glass, cold mounting on Dibond. $2850 SOLD
2x)16 x 20” RC photogram prints maple frame, white lacquer finish,
UV90 glass, cold mounting on Dibond. $2850 SOLD
16 x 20” fiber photogram ‘positive’ print from a paper negative, maple frame, white lacquer finish UV90 glass, Heat mounted on ragboard $2250
Cadillac Black is cast and polished aluminum, auto paint. SOLD
Low Rider is cast and polished bronze with metallic automobile paint $6660
November 17 to December 9, 2017.
Limited hours in December.
Saturdays 2 - 5 pm or by appointment.
contact Lisa Sanders on IG @lisa_sanders.artist
We are thrilled to be presenting volume of traffic by Lisa Sanders as our inaugural painting exhibition. This exhibition of all new work opens on November 17, 6 - 9 pm.
Ethereal and sublime, Lisa's paintings possess the allure and binge worthiness of Stranger Things, and the romance and resonance of J.M.W. Turner.
oil on canvas
46 x 60"
oil on panel
18 x 24"
oil on panel
11 x 14"
30 x 24"
