Exhibitions

Gev Martoz: New Paintings

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September 5 – 9, 2018

Opening Reception: Thursday September 6,  6-10 PM

Loop Gallery is honored to announce New Paintings, a collection of recent work by Gev Marotz. His first show at Loop in over two years, New Paintings showcases the evolution of Marotz’s artistic practice, and continued exploration of the themes of memory and the shared nostalgia of common objects.

New Paintings is on display at Loop from September 5 to September 9, 2018. Please direct all media inquires to tim@loopgallery.ca, or call 416-516-2581

About the Artist

Gev Marotz is an Israeli-born artist who has lived in Germany and China. Educated in design, he began his career in the United States and continued to travel frequently. Now based in Toronto, Canada, Marotz maintains an active artistic practice. His paintings draw from a lifetime of travel and internal exploration. Influenced by his upbringing in a visually inclined family and his time exploring different cultures, many of his investigations circle back to imagery from his childhood. He then reworks and distorts these images as time and experience would a memory. 

Unrestricted, Marotz plays with the paint, line, colour, and composition of each of his works. His background in design becomes evident in the detailed patterns, while his passion for history and iconography play beneath the surface. Space, wonderment, and childlike things become sophisticated works of art through a carefully considered process of translation from memory to acrylic on archival wood. 

Marotz’s work is featured in numerous private collections across the globe including Germany, China, the United States, and Canada.

In Progress: New paintings by Alistair Magee and Mark Adair

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August 22 – 26

Reception: Saturday,  August 25, 2-5 PM


Loop is proud to present In Progress, a brief look behind the creative curtain at two veteran artists’ search for new modes of expression. In their own words:

 The paintings included in this exhibition at Loop are part of a new area of investigation. Fragments of transferred images from magazines, found notes, newspapers, letters and drawings operate as discrete temporal artifacts that preserve the flow of real time. Motifs are mirrored, rotated, repeated. Conjuring up remembered experience (personal, political, historical) they merge with mark making to suggest possible new relationships.

 I intend that my work should transcend painterly formalism and come loaded with personal and political undercurrents. Surface-matter and subject-matter should work in conjunction with one another in a dialectical tension, neither taking precedence. This exhibition gives me the opportunity to assess the progress of these new paintings.

Alistair Magee

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 All of the pictures in this show are ‘political,’ but the oil paintings are especially so. They reflect a deep anxiety about the gaps between our political leadership and what might be called the best advice given for how to address climate change. Why such a huge gap? Harvest Time (1983) was the last time I picked up the brushes, and that was also a ‘political’ picture. I, like most sane people of the day, was worried about the bombs. 

I have to point out that, for me, the choice of medium or method is driven by the depth of the compulsion involved. If I don’t feel passionate about it, I do something else. I don’t consider myself a painter. I do consider myself an artist. But a year or so ago I had this non-stop-won’t leave-me-alone-for-a-minute hankering to start painting a new sequence of the Death Drinks series, and it turned into this peering into the dark thickets to see what was going on in there. 

 Things seem to keep pulling at us, making us do absolutely crazy things, and we seem so utterly powerless to resist — to set ourselves on a common course, far, far away from the current divisive discourse that is nothing but a distraction from the work that needs doing.

— Mark Adair

 

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