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Carolyn Dinsmore – Surface a collection, part 2

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April 23rd – May 15th, 2016
Reception: Saturday, April 23rd, 2-5 p.m.

300dpi Street Life 8, mixed-media on wood, 48_x 30_, 2016 copy

loop Gallery is pleased to announce Surface – A Collection, part 2, a new exhibition by Carolyn Dinsmore

Carolyn Dinsmore’s paintings of roads and rocks are cropped landscapes (urban and rural) that zoom in and focus on surface pattern and texture. Collecting photos, litter, stones, etc. during everyday travels through familiar surroundings help in reconstructing images – evidence of everyday use and natural erosion. Weathered layers express the opposing dynamic of building up and wearing away.

The composite, quilt-like paintings are inspired by African cloths (made by the people of the Congolese Kuba tribe) on which were appliquéd motifs representing an interpretation of their physical surroundings. The cloths, made up of panels sewn together, are wrapped around the body and worn as ceremonial dance skirts. New appliqués were added as patches to mend worn out areas.

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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kipjones2

 

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.