Archive | Past Exhibitions – Studio Gallery

Side Piece

Sidepiece photo

Opening Reception: Friday Oct. 12th, 7-9pm
Exhibition Dates: Oct 12-Nov 18
Location: Project Studios 184 Munro Street (rear)

Project Studios is pleased to host a unique exhibition curated by Tessar Lo featuring works by artists in media that is atypical to their practice.

have you ever gone about your routine (maybe routine of non-routine) and thought,
“am i me?”
have you ever done or tried something you’ve never done before and thought,
“ah! so this is me, (?)”
side piece, is a group show that asks artists to present a work that may aesthetically or thematically fall outside their more focused, noted methods of working- side piece, is a small, humorous gathering of diverse curiosity that may have inspired, are a remnant of or were made directly opposed to larger creative motives-
this gathering is meant to ask why things exist, why these notions were necessary (if at all?), how they manifest, and how they contribute to thinking and feeling moving forward.

– Tessar Lo

Participating Artists:

Ness Lee
Kendra Yee
Alex McLeod (c/o Division Gallery)
Tessar Lo
Paddy Leung
Winnie Truong (c/o Erin Stump Projects)
Kisung Koh
Paul Butler (c/o Division Gallery)
Alex Sheriff

Project Studios is located at 184 Munro St (rear) and is open for receptions and by appointment only. Please contact info@projectgallery.ca

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Court Gee – Learning by Doing

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Opening Reception: August 24th, 7:00-9:00pm
Exhibition Dates: August 24 – September 29 2018
Location: Project Studios 184 Munro Street

Subverting function with wry humour, Court Gee uses readymade and craft based materials to create comedic, and often absurd, installations. responding to the ‘landscape’ of the site, these materials are strategically positioned, with the tropes of formal presentation in mind, to resist their intended use. Because of this, these works often read as objects out of place.

Through these pairings Court Gee puts into question the viewers own relationship to the materials, situating the nonsensical narratives in a continuous loop of reality and artificial. The viewer is left to challenge and rediscover their relationships to everyday objects.

Court Gee is a recent graduate of OCAD University and has exhibited at XPACE Cultural Centre, Ignite Gallery, Mercedes-Benz Financial amongst others. ‘Learning by Doing’ is Gee’s first solo exhibition.

Project Studios is located at 184 Munro Street (rear) and is open for receptions and by appointment only. For more information please contact devan@projectgallery.ca

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Difficult Placement (Contact Photo)

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Opening Reception: April 26th, 7:00-9:00pm
Exhibition Dates: April 26 – June 6 2018
Location: Project Studios

Curated by Greg McCarthy with works by:
Cameron Lamothe
Katelyn Gallucci
Rachel Guglielmelli
Sebastián Rodríguez Besa
Nicolas Vo

Difficult Placement brings together different interpretations of what it means to be a photographic artist in the expanded field. The artists assert the photograph as physical objects over the depicted events. Thus presenting the viewer with a brief overview of photographic work produced in Toronto that operates outside of the conventions of simply a framed image.

The Scotiabank CONTACT Photography Festival is the largest photography event in the world. Through collaborations with major museums and galleries, CONTACT presents outstanding photographic and lens based work throughout greater Toronto every May.

Project Studios is located at 184 Munro Street (rear) and is open for receptions and by appointment only. For more information please contact devan@projectgallery.ca

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Intergenerational Trauma – Noah Brown: March 15 – April 21

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Exhibition Dates: March 15th – April 21st
Opening Reception: March 15th 7:00pm – 9:00pm
Location: Project Studios – 184 Munro St (rear)

Noah Brown’s work hones in on the reality of living as a biracial androgynous male amongst the lasting trauma of slavery. His artworks stem from trauma associated to an experience where he was attacked by boys with a shared racial identity. His obsession with this traumatic incident has influenced him to dissect the social and historical significance of their behaviour, down to details of postured representation.

Brown’s dry-felted tapestries explore the danger implied by self-expression within a heteronormative society, the shame attached to androgyny, internalized self-hatred within the black community, and a hope for the future where black youth can be emotionally-expressive.

In response to more recent external forms of racial discrimination, he has sculpted porcelain figures of a black boy in a hoodie, cast eleven times in a plaster mould. Exploring ideas of people of colour living in accordance to societal stereotypes, thus gaining a form of comfort in following a ‘racial role’.

“In my life, I constantly defy the stereotype of what it means to be a boy of colour. Despite the discomfort that comes with stepping outside of toxic societal expectations, I am able to express myself through different forms of visual art.” – Noah Brown

Noah’s four years in specialized schooling as a visual arts major at Etobicoke School of the Arts have taught him ways he can gain autonomy by teaching his communities the historical significance behind our current psychological state, creating a safe and educated environment for people of colour who wish to express themselves, and to change the perception of black youth by setting an example for what minorities are capable of accomplishing. ‘Intergenerational Trauma’ is the first solo exhibition of Noah Brown’s work and will take place at Project Studios from March 15th-April 21st 2018.

Project Studios is by appointment only. To set up an appointment please contact devan@projectgallery.ca

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Right Aunt Left – Omar Lalani: Jan 19 – March 3

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Opening Reception: Friday Jan 19th 7-9pm
Exhibition Dates: Jan 19 – March 3, 2018
Location: Project Studios – 184 Munro St (rear)

Embracing intuition as his collaborator, Lalani often reflects on his work for answers in attempts to diagnose and dissect his own ways of thinking. Figures are an important anchor point in the artist’s work as over time these figures have begun to parallel his on-going personal experiences. The paintings represent an interest in dissolving the boundaries between Western understandings of mind and body. Dream-like realms that are representational but untethered from reality provide the flexibility necessary to mediate information from the subconscious.

Omar Lalani is a painter and curator based out of Toronto Ontario. Since graduating from the Alberta College of Art and Design in 2011, he has exhibited work nationally for the past 7 years. Lalani embraces an ideology rooted in subjectivism in combination with an improvisational process, to focus his practice towards therapy and reflection. In addition to his painting practice, Omar is the Programming Director and Cofounder of Pushmi Pullyu, an artist run centre based in Toronto.

Project Studios is located at 184 Munro St (back entrance) and open for receptions and by appointment only – please contact info@projectgallery.ca to arrange a viewing.

 

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CHROMATOPE – Callum Schuster: Dec 7 – Jan 14, 2018

ChromatopeOpening Reception: Thursday Dec 7th 6-9pm
Exhibition Dates: Dec 7 – Jan 14, 2018
Location: Project Studios (184 Munro St – rear)

Distilling the essence of a thing or a moment is something people have always done by documenting their events and environment for reflection and understanding. The periodic table, taxonomy, journals and some types of painting are a few examples of how we have taken the things in our life and categorized and encapsulated them for preservation, understanding and meaning. When looking at the past with these records to refer to we have a chance to see where we came from and how we define our reality.

From minerals to plant and animal matter I have taken things from my environment in certain events and travels as a kind of souvenir. I collect, dry, disintegrate these souvenirs and turn them into powder to use as a pigment or dye. Once elements from my environment are turned to a resin like paint the essence of the material is preserved. From solid to liquid back to solid, the substance becomes a reflection of what it once was. The colour doesn’t always reflect the event or our immediate understanding of the material or memory of it but these monochromes are a way of capturing and documenting an event and seeing it as a single colour.

Callum Schuster’s work offers an ongoing investigation into our perception of the world around us. Schuster foregrounds the relationship between imaginary, 2D and 3D spaces as a way of exploring the psychology of space and its effect on our wellbeing. Rather than creating a visual escape for the viewer, the aim is to engender self-reflexive environments or experiences. A blending of alchemy and meditation become a focus in a pursuit of praxis, an application of a theory to a practice.

Schuster graduated from OCADU’s Drawing and Painting program in 2011. His work has been exhibited in a number of solo and group exhibitions, including Palindrome Dome Metronome Home at O’Born Contemporary (Toronto), More Than Two (curated by Micah Lexier) at The Power Plant (Toronto), an off-site exhibition at the Havana Biennale, as well as public installations for the City of Toronto’s Nuit Blanche and WayHome Music and Arts Festival.

Project Studios is open for reception and by appointment only – please direct inquries to devan@projectgallery.ca

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No One Notices The Landscape Within You: Nov 9 – Dec

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Opening Reception: Thursday Nov 9th 6-8pm (RSVP)
Exhibition Dates: Nov 9 – Dec 3, 2017
Location: Project Studios (184 Munro St – rear)
‘No One Notices The Landscape Within You’ brings together the work of Chad Gauthier and Michael Pitropov that both explore portraiture and the the role of introspection in the process of painting. The works carry out of conversation of what it means to exist in a pictorial landscape while also questioning the role of narrative and frozen action in a painted scene.

Gauthier works draws from french film stills as reference to highlight poetic moments of cinematography, and the search for meaning within the frame. The vulnerability of his figures conveys the inner struggle for honesty against deception and invites the viewer to escape within the image, and be immersed in the representation of the figure. The painting seeks for moments of clarity and to distill the overabundance of media saturation into small moments of escapism and meditation.

Pitropov displays figures in pastoral nocturnal landscapes, engaging in activities that are deliberately unclear to the viewer and left up to interpretation. His surreal scene in which the isolation of the figure is central can be used as allegory or allusion to greater events.

Both artists work to open the viewer up to moments of isolation in which small gestures can be broadened out to convey a greater political, personal, or spiritual insight. Pitropovs works seeks moments when the isolation can become invigorating and stem to desire and intrapersonal relationships, while Gauthier provides a counterpoint in which the isolation can be either detrimental or alienating, lending his paintings a sense of eerie isolation. Where Pitropov work draws the viewer in and makes them wish they were invited into a party unfolding before them, Gauthier’s work shroud the moment from the viewer lending a truly spooky look into moments they will never see.
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Jean-Luc Lindsay – Spaces of Passage: Oct 5 – Nov 5

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Opening Reception: Thursday Oct 5th 6-9pm (RSVP)
Exhibition Dates: Oct 5 – Nov 5, 2017
Location: Project Studios (184 Munro St – rear)

Project Gallery is pleased to present the first solo exhibition of new paintings by Jean-Luc Lindsay.

“Observe the street, from time to time, with some concern for system perhaps.
Apply yourself. Take your time.
Note down the place […]
Note down what you see. Anything worthy of note going on. Do you see what’s worthy of note? Is there anything that strikes you?
Nothing strikes you. You don’t know how to see.

You must set about it more slowly, almost stupidly. Force yourself to write down what is of no interest, what is most obvious, most common, most colourless.”
-Georges Perec, ‘The Street.’ Species of Spaces and Other Pieces

‘Spaces of Passage’ explores the peculiar qualities and patterns that emerge in those surroundings that we occupy and move through with familiarity and frequency. The project is one of spontaneous and intuitive notation and revision that takes for its subject those moments of recognition that occur in the midst of the banality of travel. References are collected through photography during walks and errands, and allowed to form patterns through a protracted scrutiny in paint. Painting interrupts the spontaneity of collection, both in its relative relationship to time and observation, as well as in its tendency to inform the initial exercise of collection. The activity of collection is then ultimately motivated by the discovery of objects and spaces that carry with them characteristics echoed in paintings. ‘Spaces of Passage’ is a project of identifying the paintings hidden in the background of an individual quotidian.

The objects and spaces depicted are collected for their reflection and uncanny likeness to paintings, with particular respect to their qualities as both permeable and aggregate. The doors, windows, and walls, that appear and repeat across these paintings were all chosen for this reason. They are places of passage that record that passage in both their spatial permeability as interstitial objects and areas – weather through their physical location or through their state of indeterminate construction or destruction – and in their presence as an evidenced record of their history and construction – through their removal, relocation, or renovation. As a collection, they amount to a selection of autobiographical peripheries – those surroundings that bear witness to our tenancy within and around them, the details and detritus that collect in the intervals of our situation.

Lindsay’s work will also be featured in the Art With Heart Auction at the AGO – Art Gallery of Ontario on October 17th.
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Ecce Homo – Brian Rideout: Sept 7 – Oct 1

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Opening Reception: Thursday Sept 7th 6-9pm (RSVP)
Exhibition Dates: Sept 7 – Oct 1, 2017
Location: Project Studios (184 Munro St – rear)

On September 7th we will be unveiling a new large scale painting by Brian Rideout exploring the history of mythological iconography, and how it relates to the ongoing history of painting and cinema.

Brian Rideout is a Toronto-based painter whose work investigates contemporary images, sourced from print and online, for their art historical relevance, as a continuation of the history of painting and image production. Rideout’s works comprise a narrative of art, architecture, and object following an undulating cycle of definition, utility, and design, softly dramatizing the multiple registers that art has come to occupy and employ over time as a material thing wholly existing in the world. He is interested in art as document, as decoration, as ideological accessory, as technological or functional support.

Rideout (b. 1986) studied at Georgian College (Barrie, ON) and has recently had solo exhibitions at Parisian Laundry, AC Repair Co., the Georgian College Helen and Arch Brown Center for the Visual Arts, and Evans Contemporary. Recent group shows include Spring/Break Art Fair (NYC), Art Toronto (Toronto), ‘Unkempt’ at MAW (NYC), ‘Open House’ at Sleep Center (NYC), ‘9 to 5’ at Warner Gallery (Toronto), ‘8 The Esplanade’ at White Condo (Toronto), ‘The Agency of Acquaintances’ at Clint Roenisch Gallery (Toronto), and ‘Taking [A] Part’ at Mercer Union (Toronto).

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Gentle Bodies – Robin Clason: Aug 25 – Sept 3

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Opening Reception: Friday Aug 25th 6-9pm (RSVP)
Exhibition Dates: Aug 25 – Sept 3, 2017

Gentle Bodies addresses the delicate nature of intimacy, sexuality, personal boundaries and where each individual sees themselves within these topics.

Robin Clason is a light based installation artist. Primarily working with neon light sculptures, her work strives to create an alternative space and realm in which the viewer can see themselves exist and interact. Using mirrors, glass sheets and plexi glass, her work creates confusing and beautiful worlds she invites the participant to step into.

Clason was trained and learned about neon as a material in New York City in 2014. Her work has been featured at various institutions and galleries including AGO’s Massive Party, the Gardiner Museum’s SMASH, and independent galleries in San Francisco and Toronto.  She will be part an upcoming show at Los Angeles at the Museum of Neon Art in September in a group show of all female neon artists.

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