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November 2018

Elizabeth D’Agostino Other Collisions

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November 10 – December 2, 2018

Opening Reception: November 10,  2 – 5 PM

Elizabeth D’Agostino’s latest exhibition at Loop Gallery, examines the precarious balance of habitat loss and human interconnection.

During the summer of 2017, D’Agostino with her family ventured on a road trip to Sointula, BC, a small coastal fishing village on Malcolm Island accessible only by ferry. While in Sointula she took part in the Sointula Art Shed Residency, gathering research material and producing a number of drawings and collages of local flora and fauna. Through the exploration of the management of living systems in nature and their interactions with humans, this body of work illustrates animal nature and the complexities of the changing landscape, emphasizing how various paths have been interrupted.

Other Collisions is a series of multi-layered etchings, digital prints and sculptures on Gampi tissue, a resilient Japanese paper. The use of Gampi tissue provides a surface that is both visceral and transformative, and transfers the etched line sinuously through both the transparent and translucent layers.

Each image oscillates between the real and fabricated, creating new arrangements influenced by their formal characteristics and habitats. This body of work employs strategies related to biodiversity and references images from plants, animals and microorganisms that inhabit the Canadian landscape. 

Fictitious environments and constructed stories merge these elements, creating a dialogue between the natural and human-made world. When installed, the prints and print-based objects produce a catalogue of re-purposed environments and fictional categories of nature within a narrative.

About the Artist

Elizabeth D’Agostino holds a BFA from the University of Windsor and a MFA from Southern Illinois University, Carbondale. Her work has been exhibited in Canada and internationally including Iziko: Museum of Cape Town, South Africa, Manhattan Graphics Center, New York, and The Print Center, Philadelphia. In addition, D’Agostino’s prints can also be found in many private and public collections including the University of Changchun Jilin, China; Anchor Graphics at Columbia College Chicago, Illinois, Department of Foreign Affairs Canada, and Ernst and Young, Canada. 

D’Agostino is the recipient of many awards and including the Hexagon Special Projects Fellowship at Open Studio, Toronto. In 2015, she was selected by the Department of Foreign Affairs, Trade and Development Canada to create the custom carpet design for the Ontario Room in the newly renovated Canada House, London, England.

Elizabeth D’Agostino lives and works in Toronto and is a member of Open Studio Fine Art Printmaking Centre and Loop Gallery.

 

Jenn Law – Still

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November 10 – December 2, 2018

Opening reception: November 10, 2018

 

 

 Jenn Law’s latest exhibition, Still, builds a biographical narrative through the social life of heirlooms. The work is inspired, in part, by the writing of Gustave Flaubert and his realist approach to constructing narrative worlds through detailed descriptions of discrete objects in domestic spaces. 

Hand-lithographed on tissue-thin paper, Law’s heirlooms recall Flaubert’s own poetic inventory—the parrot, for example; an iconic mascot of language and mimicry. Transparently layered, each storied artifact serves as an ethereal portrait of a personal heirloom in the artist’s own collection, collectively called upon for the tenuous access they grant their possessor to past lives, real and imagined. 

Presented in the form of an artist’s book, the work is designed to evolve, the signatures left unbound so that new object-pages may be added to the collection and potentially rearranged by the reader. Accompanying the book, the heirlooms simultaneously appear as individual works of printed ephemera, ghosted objects intended to be gifted or folded away in books or drawers, distributed into the world beyond the confines of the original collection. 

Approached as a deconstructed vanitas arrangement, each “still” ultimately references the capacity and futility of objects to create meaning, as well as their elusive promise to extend the collector’s life through their individual heirloom trajectories. 

About the Artist

Jenn Law is an artist, writer, and researcher living in Toronto. Her multi-disciplinary practice explores book culture, the historical archive/library, and print-based strategies of preservation and problem-solving. She holds a PhD in Anthropology from the School of Oriental and African Studies (SOAS), University of London, UK, a BA in Anthropology from McGill University, Montreal, Quebec, and a BFA from Queen’s University, Kingston, Ontario. 

Law has exhibited her work internationally, including exhibitions in Canada, the United States, Australia, Taiwan, Spain, and the United Kingdom, and has worked as a lecturer, curator, and editor in Canada, the UK, and South Africa, publishing on contemporary art and print culture. She is the co-editor, with Tara Cooper, of Printopolis, published in 2016 by Open Studio, Toronto. In 2017, Law co-founded Arts + Letters Press with Penelope Stewart, with whom she co-edits the journal art + reading.