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5 Questions with Kipjones

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Today’s your last chance to see Staged Standards by kipjones. Here’s a behind the scenes piece called 5 Questions With and some images in case you can’t make it out. By Tara Cooper

5 Questions with Kipjones

  1. What’s your elevator pitch for your current show?

My intension with this work is to speak to the notion of architectural icons as sculptural gestures. The premise was to develop a formal relationship between the solid and a skin representation of the form—a palindromic image.

  1. What was your strategy for the install at Loop? Were there any challenges?  

No.

  1. How do you spend your time when you’re not working in the studio?

Life is a combination of working as a sessional at OCADU, family and friends, documentaries at the Bloor Street Cinema, and biking in the city.

  1. What artist living or dead would you most like to have dinner with?  What would you order? What question would you ask him/her?

Simon Starling the English Turner Prize winner. His work speaks about process through journeys.  So my idea would be to have lunch on a meandering river, the current moving us along, two canoes lashed together sharing whatever each of us brought for the journey. When done each canoe drifts away in our separate directions.

  1. What’s next in terms of your studio practice? 

At this moment, I am in process of finishing off 2 cast iron works that were cast in Latvia last summer, which will go to Prince Edward County for the summer.
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kipjones – staged standards

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March 26th – April 17th, 2016
Reception: Saturday, April 2nd, 2-5 p.m.

#3

loop Gallery is pleased to announce Staged Standards, a new exhibition by kipjones.

 

Staged Standards is a response to an ongoing study into architectural iconography as a sculptural gesture. The work consists of a series of materially aesthetic investigations of formally staged wooden fabrications and their echoed forms.  These austere scaled assemblies of an architectural vernacular address the notions of permanence and transformation as a reflective relationship between the elements.

 

The latex rubber forms act as dualistic moments in an inter-connected relationship with their mirrored wooden original. Pragmatically this work utilizes the inherent properties of latex rubber, its skin like qualities and it structural integrity, as containers of forms and icons.  The hard surfaced reality occupies a antipodean position in relation to the soft skinned latex empty vessels, constituting a connective bridging of the organic and the man-made – the mind and body – nature and culture.

 

Staged Standards are formal self-reflective acts of inherent tension and linked associations, a redefined vocabulary of form.

 

kipjones is an active and experienced Toronto public artist, sculptor and instructor. His artistic research addresses the complex potentialities of space through site-specific installations, public art and object making. He graduated 2011 with an MFA: sculpture from Concordia University in Montreal.  He has exhibited and participated in residencies nationally and internationally.  His public art can be engaged with in Kelowna BC, Calgary AL, Moncton NB, and most recently Gambrel Journey for the City of Markham Ontario.

 

Elizabeth D’Agostino – Makeshift

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March 26th – April 17th, 2016
Reception: Saturday, April 2nd, 2-5 p.m.

Makeshift I

loop Gallery is pleased to announce Makeshift, a new exhibition by Elizabeth D’Agostino.

D’Agostino has spent the last few years building fictitious environments merging elements both real and imagined. As a child, she curiously watched her father graft his backyard fruit trees. She would watch him carefully join sections from separate varieties of trees and as a result would produce an assortment of fruit from a single tree in an urban setting.

 

Makeshift chronicles D’Agostino’s fascination with grafting and attempts to create a catalogue of re-organized components and fictional categories of nature with an invented narrative.  D’Agostino draws from biodiversity and the complexities of the changing landscape emphasizing how various paths of nature have been interrupted by rapidly producing populations.

 

D’Agostino holds a BFA from the University of Windsor and an MFA from Southern Illinois University.  Her work has been exhibited in Canada and internationally including The Kelowna Art Gallery, Iziko: Museum of Cape Town, South Africa, Manhattan Graphics Center, New York, and The Print Center, Philadelphia. 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. She was awarded an Honourable Mention in the 2014 National Open Studio Printmaking Awards, and was selected by the Department of Foreign Affairs, Trade and Development Canada to create a carpet design in the Ontario Room for the newly renovated Canada House in London, England.

 

D’Agostino lives and works in Toronto and is currently the Managing Director of the Toronto School of Art. She is also a member of Open Studio Fine Art Printmaking Centre.

 

Richard Sewell – compression

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February 27th – March 20th, 2016
Reception: Saturday, February 27th, 2-5 p.m.

richard

Then. A long time ago, wHer between eolith and artefact, near geoglyph:

Local, one observant, located toward > image. Their nascent: locale, one, object and surface, sequenced about ensemble- about a curious notation toward > preference.

Now. Current, wHer ensemble occurs: locale, one, object, surface- a worded notation, humanly a-sequence, about-curiously needing-allowing- one, two:

Too < use > image. Here curiosities! wHer locations, observations, sequences, local- ensemble, move one: toward > encouragements; < away from cautions.

 

Richard Sewell co-founded Open Studio in 1970; continued as artist, printmaker, publisher, and collaborator in: dance, music, and performance; taught with several Canadian colleges and universities; retired professor emeritus from Sheridan College in 2008. Mr. Sewell exhibited in, staged and/or curated presentations in Canada, the United States, Australia, England, Europe, South Korea, Japan, and recently with KWAG, AGO, Open Studio, and Harbourfront. Now imageologist, Mr. Sewell pursues wHer, geoplasticimage: gpi, and locusethics, a 3-part work/query about one located curiosity called image. Mr. Sewell lives in Grand Bend, Ontario.

Tara Cooper – Contre Vents et Marées

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February 27th – March 20th, 2016
Reception: Saturday, February 27th, 2-5 p.m.

tara

This exhibition takes cues from Sir Francis Beaufort, the inventor of the Beaufort wind scale. Invented primarily for the Royal Navy in 1807, the 13-point scale remains a standard for estimating the force of winds through visual observations recorded at sea and on land. The exhibition’s title Contre Vents et Marées is a meteorological idiom; its English translation against winds and tides is understood in French as the ability to continue despite obstacles. Constructed as a series of floating platforms, the exhibition combines print, ceramics, sculpture and meteorological instruments that tell us how the winds are blowing.

Tara Cooper draws from meteorology and creative non-fiction, resulting in projects housed under the moniker Weather Girl. She received her MFA from Cornell University, specializing in the disciplines of print, short film and installation. Recent accomplishments include residencies at Anderson Ranch Art Center, The Wassaic Project and Landfall Trust, as well as arts council grants from Ontario and Canada. Her exhibition record spans more than a decade, covering local, national and international venues. She is an Assistant Professor in the Department of Fine Arts at the University of Waterloo. This exhibition was made in collaboration with her partner (and husband) Terry O’Neill.

 

Gareth Bate – Cape Flora

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January 30th – February 21st, 2016
Reception: Saturday, January 30th, 2-5 p.m.
Q & A: Sunday February 21st, 2 p.m.

gareth

Gareth says: “My new Cape Flora paintings are about letting go and allowing myself to just make art without ideas about what kind of an artist I am – or ought to be. There’s no political agenda, no intellectual concepts and nothing capital C contemporary blah blah. My new philosophy of art making is “I don’t give a crap.” Or perhaps the more Bhagavad Gita way of saying it  – detachment from the outcome. (I love the Bhagavad Gita by the way.) Now of course I care deeply about making art. I just don’t care what imagery comes out. As they’d say on LOST – Whatever happened happened. No judgement, no expectations. The result – remarkably – is totally coherent and one of the best bodies of work I’ve done. I love these paintings.

Every year I visit North Lake –  a little fishing village in Prince Edward Island. A really special place. Every night, sitting around the dining room table with my partner Graham – I’d just draw in markers. I didn’t care what happened because they didn’t matter. The results were boisterous and vibrant drawings of plants, flowers and amorphous sea creatures. It was so liberating.

I’d been working on a body of work for a year and was sick to death of it. It was stale and contrived. When I returned to Toronto – in one day – I painted over 30 paintings – a year of work! I experimented with an “automatic” approach. This meant I just launched right in with spontaneous brushwork and went wild. No conscious thought or intention. Whatever imagery emerged I just went with it.

Immediately the paintings had a raw vitality. An explosion of new life. Spring bursting out, letting go. They’re filled with vines, knots, nerves, trees, leaves, blossoms and glowing lights. A cosmic garden or tree of life. Swirls of colour and churning vortexes of tangled webs and crisscrossing vines. These elements then repeat and rearrange themselves in new ways. My intentional paintings would never have looked like this! I feel rejuvenated, like I’ve released a ton of built up tension and anxiety. Over the last few months I’ve refined these images into finished paintings without losing their initial impulse.

I now recognize that the paintings feel reminiscent of my 2015 trip to South Africa. I was born there and we left when I was six because of Apartheid. I was returning after almost two decades. In Cape Town I visited the spectacular Kirstenbosch National Botanical Garden at the foot of Table Mountain. I was with my half-sister who I was meeting for the first time. The remarkable collection of local fynbos and protea plants seeped into my mind.

For me the paintings feel reminiscent of the tangled vines in the Book of Kells, the gardens in Indian Mughal miniatures, the weaving of Islamic calligraphy, microscopic photos of cells and the plant patterns of William Morris. All completely accidental – filtering into my mind over the years and bursting out now – because I finally let it.”

Gareth Bate is a Toronto artist working in painting, installation and photography. He’s the co-curator of Oakville’s World of Threads Festival of contemporary fibre/textile art. He teaches abstract painting and art history at Central Tech. He does art tours of galleries and museums called “Art World Untangled.” Subscribe here to get his weekly emails about making art, art history and the art world. You can see more of his work at garethbate.com
Image:  Cape Flora, acrylic on wood, 12 x 12, 2015.

Mindy Yan Miller – Mother and Child

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January 30th – February 21st, 2016
Reception: Saturday, January 30th, 2-5 p.m.
Q&A: Sunday, February 21st, 2 p.m.

untitled (universe)

Loop Gallery is pleased to announce Mother and Child, a new exhibition by Mindy Yan Miller.

For her first exhibition at Loop, Yan Miller returns to a longstanding fascination with flesh. Using cowhides and calfskins that she has carefully clipped, patterned, and perforated, Yan Miller exposes the surprising fragility of these tough skins. “The material is very precious; these hides are the residue of a life and I couldn’t bear to waste them,” Yan Miller explains. The title derives from conceptually pairing hides and calfskins – at once a clever gesture at parent-child resemblance, and a painful reminder of the shared fate of both mother and child within the animal industrial complex.

Yan Miller’s work has long related to the body, and often engaged clothing, skin, or hair in monumental temporary installations. Mother and Child marks the beginning of a studio based practice, while sharing the spiritual and philosophical underpinnings that have defined her work for more than 3 decades.

Mindy Yan Miller was born in Sault Ste Marie and graduated from the Nova Scotia College of Art & Design in 1990. She teaches Fibres and Material Practices at Concordia University. She has been the recipient of numerous grants from the Canada Council for the Arts, the Quebec Arts Council, the Saskatchewan Arts Board and the Concordia Union for Part-time Faculty. Her work has been exhibited at the Moose Jaw Museum and Art Gallery (Saskatchewan), The Southern Alberta Art Gallery (Lethbridge), La Centrale (Montreal), Mercer Union (Toronto), Fe Gallery (Philadelphia), W139 (Amsterdam) and galleries across North America and Europe. Yan Miller lives in Saskatoon and periodically teaches in Montreal.
Image:  untitled (universe), shaved cowhide, 56.25” x  56.25” (2015)

Gary Clement – NATURE BOY

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January 6 – 24, 2016
Reception: January 9, 2-5PM

GARY

Loop Gallery is pleased to announce NATURE BOY, a new exhibition by Gary Clement.

The paintings and drawings in NATURE BOY record Clement’s open and emotional response to the intense and overwhelming beauty of the landscape he encountered during recent trips to the coast of Labrador and the Algonquin Park region. The pieces in this show address the wonder and variety of those often remote, always visually striking environments.

It is a show of multiple firsts for Clement… a first time using oils, a first landscape show and a first time departing from his natural tendency to urban cynicism in favour of giving himself over entirely to an immersive and near mystical experience of nature.

Gary Clement has been the editorial cartoonist for the National Post since 1998. His work has been published in The New York Times, The Guardian and The Wall St. Journal. He is also a writer and illustrator of children’s books and is a three time nominee for the Governor General’s Award for Illustration. He won the award in 1999 for his book, The Great Poochini. This is his eighth show at Loop.

Suzanne Nacha – minera-logic

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January 6 – 24, 2016
Reception: January 9, 2-5PM

SuzanneNacha

Minera-logic is an exhibition of new paintings by Toronto artist, Suzanne Nacha. In an effort to depict our human relationship to the earth – our position upon it and our overwhelming lack of understanding beyond it – Nacha turns to the logic of mineral forms and material structures in creating this new body of work.

Equally absurd and solemn, the paintings reflect on our place in the world by setting up formal relationships between space and object, light and shadow, and in creating a narrative that unfolds as much through what is seen as what is not. Material piles appear to take on anthropomorphic form, occupying a landscape seemingly empty and timeless. But these are not the sort of narratives that offer any resolve. Their empty spaces and exaggerated shadows convey a sense of potential rather than assertion and time here is not linear but cyclic. The result is a narrative that doesn’t offer up answers, but rather a range of experience that spans silent contemplation at one end and a sense of unease at the other.

Suzanne Nacha is an artist working in painting, sculpture, installation, and video. Her work is imbued with a unique visual language enriched by her experiences mapping the far-reaches of Canada, creating geologic maps that span the earth’s continents and the study of structural geology. She has exhibited in Canada, the United States and Europe and is represented in public and private collections, including the Department of Foreign Affairs and International Trade, the National Bank of Canada, The Donovan Collection and the Robert McLaughlin Gallery.  Born in Hamilton Ontario, she holds degrees in both Fine Art and Geology. She has taught in the Fine Art departments of OCAD, Sheridan/UTM and York University, and for the past fifteen years has worked in the mining industry mapping geographies of fortune and need.

Image: under a billion suns, 2015, oil on panel, 19″x 24.5″

Mark Adair – Death’s Epilogue, The Glass House Window

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December 5 – 27, 2015
Opening Reception: December 5, 2015, 2-5pm
Q&A: December 5, 2015, 3pm

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Loop Gallery is pleased to announce a new exhibition by Mark Adair entitled Death’s Epilogue: The Glass House Window.

Adair has always simultaneously worked on parallel projects. The two featured in this show are the Death Drinks series (1999-2015) which Adair concludes with more small charcoal drawings and the new piece, The Glass House Window, which is a glass, steel and lead window featuring a version of the Tree of Knowledge. Death’s Epilogue is ironic and dark; The Glass House Window is a new departure for Adair — it is a meditation on the need for sincerity.

Adair graduated from York University with his BFA and went on to do his MFA at the University of Victoria in B.C. in the early 80’s. After returning to Toronto in 1983 he almost immediately became involved in Green politics, and the questions and anxieties that have arisen from the observation of the steady deterioration of our planet have formed the basis of his work for the last thirty years. ‘How did we get to this place?’ Why did we allow it to happen?’ ‘Why are we so reticent “to do something” before it is too late?’

 

Visit the artist’s website