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Martha Eleen Adaptation

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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

 

 

Martha Eleen’s Adaptation is a process-based series of paintings that attempts to make visible the experiential qualities of space that you can’t see, such as temperature, meaning, memory, time, emotion. 

These paintings map the connection between the artist’s physical and inner landscapes. By imposing a restriction on observed perspective, the compositions must adapt to shape space using other aspects of visual language: sensation, movement, weather, patterns/rhythms, the changing circumstances of daily life, mood and emotion, vibration.

About the Artist

Adaptation is Eleen’s third body of work investigating the relationship and interdependency of space and place. In The Meaning of Things, 2015, observations of a cardboard box were used to represent a place without socio-political context (unlike buildings and rooms). In Watershed, 2017, the jumping off point was the exterior spaces from the box compositions, but this time there was no subject matter: space without place or meaning.

Martha Eleen is interested in human geography and the relationship between culture and landscape. Her paintings have received critical attention in the form of curatorial essays, reviews and publication such as the The Globe and Mail and Descant magazine.  Eleen’s work has been exhibited in public galleries in Canada, U.S.A, Mexico and Japan, and is represented in permanent collections including the Art Gallery of Ontario. She is an Honours graduate of Emily Carr College of Art, Vancouver. Eleen lives in Toronto where she teaches painting and drawing at Toronto School of Art and is represented by Loop Gallery.

Neeko Paluzzi The Goldberg Variations, and Other Works

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February 13 – Mach 3, 2019

Opening Reception : Saturday, February 16, 2-5 PM


Neeko Paluzzi (b. 1988) is an emerging, Ottawa-based artist and educator whose practice focuses on conceptual installation. His images blend the possibilities of traditional, analogue darkroom processes with contemporary photographic techniques, such as 3D scanning and printing. He is a graduate of the Photographic Arts and Production program at the School of the Photographic Arts: Ottawa (2017) and holds a Masters of Arts from the University of Ottawa (2013).     

The Goldberg Variations continues Paluzzi’s ongoing interest in merging photographic and musical tones. In this iteration of his tonal series, Paluzzi focuses on the iconic recordings of Bach’s ​Aria with Diverse Variations (commonly known as ​The Goldberg Variations) by Glenn Gould in 1955 and  1981. These seminal recordings bookended Gould’s professional life, with the former being his international debut and the latter being the last recording before his death a year later. The 1955 recording, in particular, reinvigorated an interest in Bach’s ​Goldberg Variations​ because of Gould’s fast-paced tempi and clinical finger movements, bringing the baroque composer into the 20th century. As an older and more reserved performer, Gould’s second recording, in 1981, was noticeably different with a slower tempo overall. 

In Paluzzi’s ​The Goldberg Variations, there are thirty-two photographs, each visualizing a single aria or variation from Bach’s score. The top portion of the photograph visualizes Gould’s 1955 recording, whereas the bottom portrays the 1981 recording. In order to match the tonal range of a particular piece of music, Paluzzi uses darkroom equipment as a musical instrument, operating the aperture of the enlarger lens, contrast filters, and the timer to make sound into light.

The Goldberg Variations is on display at Loop Gallery, along with select other works by Paluzzi, from February 14 – March 3, 2019.

Lois Schklar Prototypes

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Feb 6-10, 2019

Reception: February 9, 3-5 PM

 

Lois Schklar’s art practice consists of an ongoing series of drawing installations utilizing found and bought urban objects as “mark making” tools. She manipulates these diverse and often disparate materials, aware of the aesthetic relationship they have with one another and, by implication, the physical and psychological space they occupy. Schklar is interested in process, a sense of play, being in the moment and a non-linear approach to documentation. She examines the ephemeral qualities of light and shadow and plays with the idea of memories as associative responses. 

Prototypes is an exploration of sound, narrative, light and audience interaction in relation to Schklar’s previous work. It is made possible through the assistance of a Canada Council Explore and Create Grant and the support of the Ontario Arts Council.

For this project, Schklar asked the following questions:

  • How could movement be combined with sound? 
  • Was it possible for light to activate sound?
  • What shapes could be generated through lighting? 
  • How would light affect the way the work is seen? How could the illusion be maintained or emphasized? 
  • What type of linear materials could be utilized?
  • How could objects be animated through touch?
  • Would the work survive audience interaction?
  • What were the possibilities?
  • Schklar hired Make Good Studio (Geoff Watson, Geoff Palin and Joseph Murray) to actualize technical answers to her questions and create interactive possibilities. Together they developed two prototypes, Waterfall and Pull Me Gently, that are workable models for future work. Additionally, Schklar developed low tech sound installations that the audience could play. Bio

    Lois Schklar’s work has been shown in exhibitions throughout Canada and the United States. Her burlap sculptures are in the Bronfman Collection, Claridge Investments, Idea Exchange Art Gallery and The Key Corporation.

    Schklar has received grants from the Toronto Arts Council, Canada Council and Ontario Arts Council. In 2018 she received an Ontario Arts Council Exhibition Assistance Grant for her exhibition ReMemory and a Canada Council Explore and Create Grant for Prototypes. Recently (2019), she was awarded an OAC Exhibition Assistance Grant for Prototypes at Loop Gallery. Lois is a member of Red Head Gallery at 401 Richmond in Toronto.

    Special gratitude to Make Good Studio, Leah Ataide, woodworker, Peter Legris, photographer, and Noah Gano for his poem “oh this”.

 

 

Sylvia Lee + Jeff Goodman Studio Horizon

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Sylvia Lee + Jeff Goodman Studio present ‘Horizon’, a glass installation at Loop Gallery for Design Week in Toronto

Sylvia Lee, Executive and Creative Director of Jeff Goodman Studio, is pleased to present ‘Horizon’ for DesignTO 2019. Building on the multi-year success of the studio’s past projects for Toronto’s Design Week, Lee will return to traditional glass blowing with the Horizon exhibition and fill the window at Loop gallery with floor-to-ceiling blown glass pieces.

“Last year we really pushed the technical envelope with our origami-inspired glass installation. This year with Horizon, we use traditional blown glass as a vehicle to inject unapologetic, intense, beautiful colour into a space. This is about passionate colour and how we can live with glass as an architectural element in our everyday life.”

On the concept, Lee says “I imagined looking through the keyhole of a door, and seeing the horizon at sunset. I wanted to translate the intensity of colour in that micro experience into a macro expression. Horizon at Loop gallery is that macro expression.”

The installation is adapted from the Cascade product popular with clients at Jeff Goodman Studio.  It’s a customizable configuration of blown glass pieces that is engineered to hang from the ceiling or be secured from the floor to ceiling. 

Lee explains further. “Our Cascade product is a completely customizable tool we often present to clients, architects and designers who need architectural screens, chandeliers or installations for an interior. It’s a series of custom blown pieces engineered precisely to hang in suspended animation. They can control the colour, shape, layering, density and configuration. It’s a great tool for them to express their vision for a project and bring glass into the space.”

Jeff Goodman Studio’s large-scale work complements a robust offering of glass vessels on display in galleries all over North America. The studio’s work is sought after by art collectors and has been recognized by the prestigious Corning Museum of Glass in New York as a “…feat of engineering and experimentation…”

Richard Sewell Neopolitan Camouflage

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with guest artist Carmelo Arnoldin

January 12 – February 3, 2019

Opening Reception:  January 12, 2 – 5 PM

 

See Mr. Arnoldin’s “The Trash Brothers”

His wonderful beer-can sourced, hand cut-edged woven tapestry, a graphically composed, in black and gold, can-made double-portrait.

See Mr. Sewell’s towards-the observer 8 ½ x 11 book-like occurrences, sympathize with neopolitan-linear arrangements, be cautious near camouflage patterns, stand in proximity with locations, objects, surfaces, coloured tarpaulins & duct-tapes, extruded/cut foam-forms; sequenced: silicone and cable-tie connectors, cut/torn remnants, orange/black critter resistant-meshes…and (although hidden from view)… strong magnets which secure autobiographical objects into one story punctuated by a biscotti-cookie,  a yellow post-it pad, a large free-range egg, a Pliocene-smoothed mini stone, 2 Home Depot small bi-coloured clamps, 1 used black china marking pencil (with pull-string), 1 too-squeezed toothpaste tube, a 1940’s heirloom ice-cream scoop, and local-notations locale-spelled, laminated and locale positioned about: actual locational-words.