Thelma Rosner Recipes from Auschwitz

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June 1 – 23, 2019

Opening Reception: June 1, 2 – 5  PM

Loop Gallery is pleased to present the work of Thelma Rosner.

The work in this exhibition is inspired by a tiny recipe book, smaller than a postcard. The book was written by a young Hungarian woman, Elisabeth Raab Yanowski, when she was a prisoner of the Nazis. She retrieved from garbage cans, scraps of bureaucratic paper discarded by the Nazis. And, in an almost incomprehensible act of will and defiance, she recalled and recorded the recipes that she and othersremembered from the ordinary pleasures of their previous lives.

In an excerpt from her memoir, And Peace Never Came, she writes: It might have started on a specially hungry day, this recalling of recipes….. Around us everything was grey. The factory, the machines, the sky, the women, their faces, their tattered rags, all was grey, hopelessly grey, and we were starving…… for the holidays, I used to make it, this chocolate cream filled torte. I decorated it with candied nuts…. I was ashamed to let myself be drawn in, as if unaware of the present reality. As if unaware of the question “What’s the use?”  But a strong distant picture demanded voice: the loving labour of preparing it, and the devotion, art and beauty in its creation, the pride, the respect on those faces around the festive table, who knew a TORTE’S deeper meaning.

I jotted down all that I could.

KimystreeLoves Imaginal

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June 1 -23, 2019

Opening Reception: June 1, 2 – 5 PM


KimystreeLoves (Kim Stanford) is a point of light where the universe is becoming conscious of itself. She uses domestic and other materials to explore meaning making within the constitution of subjectivities. She is interested in cocreating the field of loving awareness for the peace and freedom of all beings. May all beings everywhere be happy.

May all beings everywhere know loving awareness. May all beings everywhere awaken to their true essence.

Lanny Sherek Artists and Beekeepers

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May 4 – 26, 2019

Opening Reception May 5,  2-5 PM



My newest exhibition at Loop is called Artists and Beekeepers.

Artists is an ongoing series of large and small oil paintings, representing artists at work in their studios.

My goal is to invite viewers to be part of my studio visits, to observe artists moving and creating within their workspaces.

This is an authentic depiction of artists within their unique studios, capturing a moment of creative time, and what at first appears to be the exhilarating, mess of artistic engagement — a mess that belies the order and structure underlining the individualized arrangement and architecture of each artist’s studio space.

The Beekeepers series presents a documentary-style description of two beekeepers working at a farm in Wellington County. I have been painting them for a couple of years, throughout the different seasons. They are, unlike my Artists series, in exterior settings, with changing light and foliage color. They connect to the studio paintings in that they are depictions of people engaged in physical and emotional work in a designated space. The juxtaposition of the box hives and the suited beekeepers create a strange and evocative setting.


Lanny Sherek


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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


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.


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”.