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Rochelle Rubinstein UNNATURAL DISASTERS CONT’D

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May 4 – 26, 2019

Opening Reception Sunday May 5, 2-5  PM

 

 

In 2005, a body of my textile work, depicting WW2 extermination camps, September 11, and tsunami devastated Sri Lanka, was exhibited at the McMaster Museum of Art, alongside works from its collection, by Goya, Kollwitz, and Dix, that explored historical moments of tragedy and upheaval.

The exhibition’s title was unNATURAL DISASTERS.Fifteen years later… UNNATURAL DISASTERS CONT’D is an exhibition of large-scale block- printed, painted and embroidered work, on silk and nylon, that includes the addition of recent unnatural environmental disasters. The work on silk has been worked and re-worked through layering, piercing, de-contextualizing and obscuring images of soldiers, keening women, horses, knives, my Hungarian relatives in a refugee camp. The newer work on nylon flag fabric includes some of this same imagery but focuses on environmental disasters such as extreme water extraction, aggressive land excavation, bee loss, replacement of natural grass with toxic turf, etc. These works have the graphic, crisp look of banners; they are also more richly coloured than my usual work – in honour of the glorious natural world that we humans are destroying. The durability and versatility of the flag material allows these works to easily be taken off gallery walls and used in parades, rallies and environmental and social protests. Aesthetics and activism collude.

More about Rochelle Rubinstein

Ava Roth Beeswax and Birch Bark

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April 6 – 28, 2019

Opening Reception:  April 6, 2 – 5 PM

This collection of work, inspired by the landscape of Northern Ontario, is a celebration of beeswax and

birchbark. The juxtapositions of bark and resin, honeycomb and beadwork, beeswax and oil paint, imply

a collision between human beings and the natural world, and reflect our impact. Tensions between

permanent and temporary materials, natural and human-made objects, the past and the present

are evoked.

Each piece celebrates the beauty of natural beeswax and birch bark while simultaneously celebrating

human creation. The works purposefully leave traces of the time undertaken to create them. We see the

work of nature— the growth of trees, the labour of bees — along with the painstaking practice of human-

made art, such as the harvesting, peeling and laminating of hundreds of pieces of natural birch bark

onto wood panels, or the delicate efforts of embroidering through honeycomb.

About the Artist:

Ava Roth is a Toronto-based painter, embroiderer and mixed-media artist.

At the heart of her work is an exploration of the relationship between human beings and the natural

world. Her series of birch bark and resin panels, her encaustic paintings, her collection of encaustic

embroideries and her work with live beehives all push viewers into reflecting on our collision and

impact.

Roth uses natural and local materials whenever possible. Canadian beeswax, reclaimed Ontario barn

wood, birch bark, linen, landscape photography and paper are hallmarks of her work.

Ava Roth is represented by Loop Gallery in Toronto and Wallspace Gallery in Ottawa. In addition to

exhibiting in solo and group shows, Roth’s work has been featured in many online and print magazines,

and she has been the recipient of several awards for her paintings. Her pieces have been acquired by

private collectors throughout Canada and internationally.

Elizabeth Babyn Her Industry, Reclaimed

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April 6 -28, 2019

Opening Reception: April 6, 2 – 5  PM

up-cycled textile processes exploration: April 7, 1 – 4 PM

Her Industry, Reclaimed explores a variety of textile processes that women have historically advanced,

such as embroidery, mending, sewing, crocheting and, more recently, needle felting, through the

creation of tapestries made of up-cycled textiles. This project is an homage to my late mother Rollande,

as well as to generations of mothers and other women who have toiled and continue to work within the

textile industry in domestic, industrial and creative spaces.

Growing up in the sixties with six siblings on a farm in rural Quebec, my earliest memories are of my

mother sitting at the sewing machine making clothes and household items for us all. Her own mother

was a seamstress who died far too young, forcing Rollande at the age of ten to enter a Catholic

orphanage where she learned a wide variety of textile techniques (some of which were used to produce

work that would later be sold to help subsidize the orphanage). Unlike our current consumption-based

“fast fashion” textile economy, a lot of Rollande’s handiwork revolved around mending and

reconstituting both new and used materials.

Rollande derived creative satisfaction from the process of designing, altering and making textile goods,

as she worked to make ends meet in helping to support our large family.

As with so many other women of her time, domestic work within our home was taken for granted, since

it did not ever result in a physical paycheque; this is something that has long been observed, for instance

by Silvia Federici in her essay “Wages Against Housework.” Similarly, within the art world, textile work

was considered unimaginative and banal, since it was associated with work done by women within the

domestic sphere. As curator Janelle Porter explains, “Lurking behind such characterizations were beliefs

that fiber art wasn’t as good as painting or sculpture because it was traditionally the work of women, of

the working class, of non-white folks”. Thanks to the persistent drive of the feminist art movement over

the past few decades, textile processes have begun to earn the recognition that they so richly deserve,

countering the emphasis on male-centrist art practices within institutions, and demonstrating the

artistic value that textile processes hold.

Like my mother before me, in Her Industry, Reclaimed I am immersing myself in the process of making,

and in so doing also subverting the throw-away culture that our current capitalist culture promotes. But

unlike my mother, within the context of art making, I am taking a feminist approach: I rip apart,

manipulate and reinterpret up-cycled garments, literally remaking the meaning that these items held in

a patriarchal culture, and in the process reclaiming traditional practices and the labour of women that

has for too long gone unnoticed.

About the Artist

Babyn received her BFA in Drawing and Painting from the Ontario College of Art and Design University in

2005. She completed her MFA in 2016 at the University of Saskatchewan in Sculpture and Installation.

Babyn has been a Loop Gallery member in Toronto since 2003 and has exhibited nationally and

internationally. Her works can be found in public and private collections in both Canada and Europe.

After years of teaching art to children and adults, Babyn currently conducts textile workshops with the

USASK Continuing Art Program and with the Saskatoon Mother’s Centre.

Join Babyn and explore a variety of up-cycled textile processes: April 7th,1 to 4pm.

 

 

Jane Lowbeer Deluge

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March 9 – 31, 2019

Opening Reception: Sunday, March 10, 2 – 5 PM

Artist’s Talk: Sunday, March 24, 2 – 4 PM

Loop Gallery is pleased to announce Deluge, a collection of new work by Jane LowBeer.

Lowbeer explains her process as follows: Rarely do I go to the studio with a plan. Instead I show up to work without a specific intention and intuit what to do. A sense of impending doom weighs on me now and carries into the studio. The specter of climate change and the extreme vulnerability of the planet have been affecting my life. Day-to-day feels unpredictable; living in the country, it’s hard to know what shoes to wear when fields shift from snow to ice, and back to earth in 24 hours. I read and hear constantly about current climate disaster and dark future scenarios. My workspace is overflowing with bits and pieces of prints I have saved – fragments of my art dating back 40 years. In recycling this work I find my response to catastrophe; sorting through this flotsam, some remnants suggested tears. As a result the collages I made showed an abundance of vertical lines, which led me to musings of rain – lots of rain. Rain and catastrophe evoke the flood, one of the oldest recurring myths of civilization.