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loop elsewhere December Edition

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banner_tryptic2 details of images: Maria Gabankova, Sandra Gregson, Jane Lowbeer and Tanya Cunnington

TANYA CUNNINGTON

Tanya is the owner and director of Lee Contemporary Art, a gallery in Orillia, an hour and a half north of Toronto. The annual Christmas Exhibition opens December 1 – 24.   If Only I’d Received Art For Christmas II  features work from Tanya as well as local artists Bewabon Shilling, Alex Richardson, Samantha Vessios, and her mom Annie Kmyta Cunnington.  All artwork is priced at $100 or less, and the opening night reception is Thursday Dec 1 from 7-9 pm.

Lee Contemporary Art
5 Peter Street South, Upper Level
Orillia, ON, L3V 5A8
705.331.3145
www.leecontemporaryart.ca

MARIA GABANKOVA

Maria invites you to an exhibition from the series New World Order, Book of Revelation and Residents/Dissidents
at  THE CONTEXT (program with Lorna Dueck) at the CBC Building (downtown Toronto)
enter at 205 Wellington St. (at John St.), walk straight ahead, it is the second door on your right.
Tuesday, Dec 6, 2016, 10 am to 4 pm
Monday, Dec 12, 2016,  10 am to 4 pm
Tuesday, Dec 13, 2016, 10 am to 8 pm  – artist wil be present 4 pm to 8 pm
For any inquiries please call: 416 535 8063

SANDRA GREGSON

Sandra’s work, in collaboration with Gary Spearin, continues until January 8, 2017.  Sandra is exhibiting a 4 metre tall tree made of terra cotta plant pots at 12 TREES: GOOD FOR THE EARTH curated by David Buckland at the Gardiner Museum in Toronto. http://www.gardinermuseum.on.ca/exhibitions/upcoming/12-trees-2016

JANE LOWBEER

Jane’s work in Local Colour, a group show at the Art Gallery of Peterborough continues until Jan 8th, 2017.

http://agp.on.ca

ESTER PUGLIESE

Ester has work in the exhibition Glimpse at Station Gallery in Whitby, on view December 3, 2016 – January 29, 2016.
Juried by Kelly McCray, Steven Schwartz and Shelagh Stewart, the exhibition will catch sight of the fast paced world we live in. From a glance to a peek and a peep, Glimpse is sure to delight.
All are welcome to attend the opening reception on Thursday, December 8, beginning at 7 pm. Parking spaces at the gallery are limited, additional parking is available at Iroquois Park or the Whitby GO Station—all in walking distance to the gallery.

Gallery Hours:
Monday – Friday 10:00 am – 4:30 pm
Thursdays  10:00 am – 9:00 pm
Saturday & Sunday  noon – 4:00 pm
Station Gallery
1450 Henry Street, Whitby, Ontario L1N 0A8
905-668-4185
art@whitbystationgallery.com
http://www.whitbystationgallery.com

also ESTER is participating in the group show Keepers, at Forest City Gallery in London, Ontario, running Friday, December 2, 2016 to Tuesday, December 13, 2016This is Forest City Gallery’s biggest fundraiser of the year, featuring works priced between $20 and $500. Attend the opening reception on December 2nd from 6 – 10 PM to get first picks of the show.

Confirmed artists to date : Tyler Armstrong . Megan Arnold . Simon Bentley . David Bobier . Derek Boswell . Parker Branch . Jeremy Brunnel . Lucas Cabral . Heather Carey . Emily Clark . Lynette de Montreuil . Jason Deary . Colin Muir Dorward . Cory Downing . Tyler Durbano . Liza Eurich . Kim Ewin-Goebel . Duncan Ferguson . Jake Freeman . Adam Giroux . Sky Glabush . Jennifer Hamilton . Antony Hare . Charlotte Hegele . Patrick Howlett . Tiffany Hufta . Kelly Jazvac . Bryan Jesney . James Kirkpatrick . Neil Klassen . Mack Ludlow . Owen Marshall . Conan Masterson . Zoë Mpeletzikas . Sarah Munro . Christine Negus . Kim Neudorf . Victoria Parker . Jenna Faye Powell . Ester Pugliese . Leslie Putnam . Angie Quick . Krista Reimer . Karalyn Reuben . Adam Revington . Ben Robinson .Rima Sater . Claire Scherzinger . Ruth Skinner . Jill Smith . Gabriella Solti . Mark Stebbins . Helen Thompson . Luke van H . Charles Vincent . Abby Vincent . Andrew Wyton . Thea Yabut . Billy Bert YoungGallery Hours:
Wednesday: 12:00 pm – 5:00 pm
Thursday: 12:00 pm – 7:00 pm
Friday & Saturday: 12:00 pm – 5:00 pm

Forest City Gallery
258 Richmond Street, London, Ontario, N6B 2H7
(519) 434-5875
info@forestcitygallery.com
http://www.forestcitygallery.com/

a visit with Ava Roth

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What process bridges the different mediums you work in?

Until I turned my attention to encaustic several years ago, all of my work was connected by a single endeavor: to use traditionally female, and often impermanent, materials in new and unconventional ways. Whether embroidering, making cake art, carving jewelry or working with textiles, I have been motivated by a connection to and conversation with other women, across different times and cultures. My turning to encaustic represented a conscious change, a 180 degree turn away from the materials that women have always had their hands on, and towards a world of blow-torches, toxicity, larger scale works, and lack of control. Interestingly enough, I have spent the last year coming full circle. My current body work is a collection of ‘sewn encaustic paintings’; I’m using an awl to push tiny threads into the wax, evoking stitched fabric, or needlework.

 

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How does having your dogs in the studio effect your work and your practice?

My dogs love to sleep on the warm floor of my studio, and always keep me company while I’m working. Occasionally this is challenging. My Great Dane has knocked over several paintings, and my bulldog likes to sleep underfoot while I am handling a blowtorch. (His white fur is currently dappled with indigo wax.) Despite these inconveniences, working with my dogs means more to me than just having some company in my studio. Having Thunder and Panda with me while I make art makes me feel like my creativity is intimately connected to my life as a whole. This holistic connection with my life is essential to my work.

 

 

 

 

 

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Besides your dogs, what else keeps you company in the studio?

I always listen to music when I’m working. Good music helps me turn off the left-side of my brain, and encourages me to rely on non-verbal, non-logical information to guide my process.

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What contemporary artists have influenced your work?

I tend to be most influenced by artists who are focused on a small and intimate project, those who work in traditionally female materials, and/or anyone engaged in creating temporary art. For example, there is an American wood-worker by the name of Josh Vogel, who crafts the most beautiful wooden spoons imaginable, transforming this ordinary utensil into lovingly rendered sculptures that are still absolutely functional. Toronto-based artist Laura Carwardine is another example – her gigantic cross-stich installation at Patria restaurant, is deeply inspiring to me. I’m often influenced by artists whose names we don’t know – ranging from the shibori textiles made by women in Japan, to beadwork on Inuit coats, to ancient Jewish wedding contracts, called ketubahs, which were traditionally painted and hung in homes.

 

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How do you know when a work is done?

I hate this response, it sounds so trite, but I just do! I have rarely, in all my life of making things, not known when a piece of work was done.

 

 

Thanks Ava for the visit!

to see more of Ava’s work check out: http://www.avaroth.ca

 

 

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loop elsewhere

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detail image credits: Tara Cooper and Jen Law, Mindy Yan Miller, Maria Gabankova

 

YAEL BROTMAN

Yael has been invited to participate in the Paperhouse Studio Residency at the Artscape Youngplace Centre for the month of November.
Her project, using paper pulp, will culminate in a group exhibition opening Feb. 14, 2017.

TARA COOPER AND JENN LAW 

Please join the artists for the launch of the Printopolis publication, edited by Tara and Jenn, on Friday, November 25th at 6:30 pm at Open Studio (104-401 Richmond Street West, Toronto). The Printopolis publication focuses on critical discourse surrounding the current state of printmaking in Toronto and further afield. Inspired by the 2010 print symposium hosted by Toronto’s Open Studio, one of Canada’s leading artist-run print centres (established in 1970), the volume considers contemporary print culture from a range of perspectives – collecting, material artifacts and the archive, pedagogy, print technologies, repetition, social activism and intervention, and public space. It also includes essays reflecting on Open Studio’s 45-year history, as well as artist pages specifically designed for the publication.

For further information, please visit the Open Studio web-site: http://openstudio.ca/printopolis-publication-now-available/

MARIA GABANKOVA

Maria is preparing a selection of  work for display from November 21, 2016 through February 2017 at The Context Exhibition Space, located inside the Canadian Broadcasting Centre (entrance at 205 Wellington St., Toronto), tel. 416 599 9777, email info@contextwithlornadueck.com.
Open 9 am – 5 pm on weekdays.
The concepts of works selected will relate to some of the issues of current events that Context programs speak out on. You can view Maria’s work at www.paintinggallery.ca

 

SANDRA GREGSON

In collaboration with Gary Spearin, Sandra will be exhibiting a 4 metre tall tree made of terra cotta plant pots at 12 TREES: GOOD FOR THE EARTH at the Gardiner Museum in Toronto. The show opens November 18 and continues until January 8, 2017.

 

LIBBY HAGUE

Libby’s work is included in the  print exhibition,  A Little Bit of Infinity at the University of Alberta Museums Galleries and also another U of A print initiative in Kyoto called Kyoto Hanga. Loop member YAEL BROTMAN is also exhibiting in the Kyoto show. http://www.kyotohanga.com/

DAVID HOLT

David will be leading a summer studio art workshop for practicing artists in Orvieto, Italy, focusing on art and religion. The workshop will run from June 18 to July 15, 2017 and will take advantage of the area’s rich historical tradition of religious material culture from its Etruscan origins onward.
Graduate level university credit available. More information and to find out how to participate visit http://www.icscanada.edu/art_in_orvieto/workshops

 

JANE LOWBEER

Jane is participating in Local Colour, a group show at the Art Gallery of Peterborough
Nov.17 –Jan.8

 

MINDY YAN MILLER

Mindy has been selected to participate in Fibreworks, a biennial juried exhibition of contemporary Canadian fibre art. It is a showcase of the most current and versatile approaches to fibre as a medium. This exhibition is one of the largest group shows in Canada and serves as a survey of the artists currently working in the medium. All works selected for the exhibition are eligible for the Juror’s award and may be purchased by Idea Exchange as part of its permanent collection dedicated exclusively to Canadian fibre art.
Fibreworks 2016 is juried by Sarah Quinton,  Artist/Curatorial Director, Textile Museum of Canada (Toronto, ON) and Jaime Angelopoulos, Artist (Toronto, ON). This year, the jury received submissions from 194 artists from across Canada, after a thorough selection process 15 artists were selected for exhibition.
Selected artists include: Ruth Adler (Toronto, ON), Susan Avishai (Toronto, ON), Audrey D’Astous (North York, ON), Stephanie Deumer, (Oakville, ON / Los Angeles, CA, USA), Risa Horowitz (Regina, SK), Deborah Margo (Ottawa, ON), Andrew McPhail (Hamilton, ON), Kristin Nelson (Winnipeg, MB), Samantha Pedicelli (Toronto, ON), Brenda Raynard (Edmonton, AB), Shannon Scanlan (Toronto, ON), Kelly Thompson (Montreal, QC), Karen Trask (Montreal, QC), Matthew Varey (Toronto, ON), Mindy Yan Miller (Saskatoon, SK).  https://ideaexchange.org/art/exhibition/fibreworks-2016

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5 Questions with Candida Girling

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If you missed Candida’s last show Shifting Landscapes, here’s a photo recap with a little behind the scenes Q&A called 5 questions with Candida Girling.

By Tara Cooper

What’s your elevator pitch for your current show?

“Shifting Landscapes explores the notion of the contemporary landscape in a world altered by human interaction”, to quote David Saric, who reviewed the show in ArtToronto.

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

I tried to position the works, which were in 3 media (ink drawings, wood that was engraved, carved and painted, and steel sculptures), in a way so that they spoke to each other. Ultimately, all of the works began with drawing and then brought to life through these different media. This was a relatively easy install, in contrast to some of my recent multi-media installations!

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

Walking in the woods and the city, reading Italo Calvino, listening to music and practicing yoga.

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

I would like to have a picnic lunch with the late Swiss artist Jean Tinguely and his wife Niki de Saint Phalle. We would dine in the garden of her sculpture park Giardino Tarocchi. I would also like to invite the late author Italo Calvino and contemporary artist and designer Olafur Eliasson, as he shares certain similar preoccupations. Using wit and ingenuity all of these artists question societal norms and ponder our relationship to history, nature and technology. They do this using elements drawn from the mundane and the absurd working them into compelling narratives. We would dine on pears and cheese, as well as edible plants that we would forage for. Wine would be served in goblets poured to varying heights and each person would have a set of spoons to play with. I would ask them for their strategies on dealing with the technological and societal changes in this new millennium.

What’s next in terms of your studio practice?

I would like to continue working with the media used in this show, exploring the same issues in more detail.

 

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Gev Marotz: Childhood

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July 27 – August 6, 2016

Opening Reception: July 28, 2016, 6-9PM

Gev Marotz Ship

Loop Gallery is pleased to announce Childhood, a new exhibition of works by guest artist, Gev Marotz.

In this latest suite of works, Marotz investigates his nostalgic attachment to objects from childhood. The focus here is not on the quality of that childhood, but rather his earliest memories of images and objects. His process does not know a time limit (as memories from childhood often do before being altered or distorted by time), which allows Marotz to use the base image as a platform for practicing and skillfully exercising technique. Through this process, the artist imbues fragments of his nostalgia into the work and breathes a new kind of life into the image. The end result aims to provide a visual living experience and a roadmap for looking.

For Marotz, a work is not finished until it is seen. With this in mind, Marotz caters to a broad audience of not only art makers, critics, writers, or members of the “art scene”, but to anyone with a desire to look. His goal is to create an image that can engage its viewers on a variety of levels and therefore invests the time to work a number of layers, both physical and critical, into each piece.

Gev Marotz was born in Israel and has lived and shown his work in many countries across the world including Germany, China, the United States, and Canada. He studied graphic design at the School of Advertising Art and currently works as Global Creative Director at Konrad, a digital innovation firm.