12 Ossington Avenue
M6J 2Y7, Canada
May 8 to June 7, 2014.
Preview Thursday May 8, 6:00 to 9:00 PM.
Esteban Cabeza de Baca – New York, Kim Dorland – Toronto, Echo Eggebrecht – Brooklyn, Andre Ethier – Toronto, Genieve Figgis – Dublin, Ireland, Bradley Harms – Vancouver, Paul Housley – London UK, Mathieu Lefèvre – died in a tragic bike accident in 2011, Gavin Lynch – Ottawa, Humberto Poblete-Bustamante – London UK, Mark Puchala – Toronto, Eva Räder – Berlin, Jeanie Riddle -Montreal, Kyle Scheurmann – Toronto, Jason Stopa – Brooklyn, Felipe Talo – Berlin, Russell Tyler -Brooklyn, Bradley Wood – New York.
This exhibition brings together a group of artists immersed in the medium of painting to create a dialogue about paint – across different styles, approaches and career levels – to showcases the medium’s possibilities.
From the visceral paint handling of Humberto Poblete-Bustamante and Eva Räder to the calculated applications of Echo Eggebrecht and Gavin Lynch; from the historical vibes of Paul Housley and Felipe Talo to the pop sensibilities of Jason Stopa and Mark Puchala; from the representations of Bradley Wood and Esteban Cabeza de Baca to the abstractions of Bradley Harms and Russell Tyler; from the figures of Andre Ethier, Genieve Figgis and Kyle Scheurmann to the objects of Mathieu Lefevre and Jeanie Riddle – these painters all get to the “heart” of what painting is and can be.
Equally of interest is the idea of influence. Each participant was invited to nominate a contemporary influence in their work, Gavin Lynch – Echo Eggebrecht, Andre Ethier – Mark Puchala, Humberto Poblete-Bustamante – Felipe Talo. This democratic and organic curatorial process delivered unexpected links and dialogues between the artists works.
- Kim Dorland, Artist Curator
Genieve Figgis holds a Masters and Bachelor Degree in Painting from The National College of Art and Design Dublin.
Her work explores how people choose to represent themselves In history, Art and Culture.
Attempting to address what is hidden, the work is in response to the idea of portraiture. Drawing from contemporary and historical resources where truths are buried and images fictionalised. The paint allows opportunities to develop which the portrait offers with its drama and its spectacle. Painted on frame mounted wood, the stage becomes a place to herald the narcissism of portraiture, allowing the paint to describe the spectacle.
Having an interest in historical drama and theatre Figgis attempts to give you a glimpse into the past where it’s a safer place to be.
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