ArtSlant - Openings & events en-us 40 Ramón Serrano - Corkin Gallery - July 7th 6:00 PM - 8:00 PM <p>Corkin Gallery presents works by Ram&oacute;n Serrano, spanning 2005 to 2015. His practice includes: painting, photographs, drawings and collage.<br /><br />"The complicated interior of Serrano's experience in Cuba - and surely that which he inhabits now - carries an aspect of the allegorical, but also the organic. His images clamour not after fact, nor fiction, but the truth of lived experience. They form a remembrance of something missing, or a dream - a dream of home, in which home cannot be seen."&nbsp;<br />-Sky Goodden, Ram&oacute;n Serrano, 2015<br /><br />Serrano graduated from the High Institute of Fine Art in Havana in 1995 where he later became the Dean of the Graduate Department in the Faculty of Visual Arts. Today he lives in Toronto with his family.</p> Tue, 30 Jun 2015 19:18:45 +0000 André Kertész - Corkin Gallery - July 7th 6:00 PM - 8:00 PM <p>"Buenos Aires, Mexico, New York, Toronto" includes photographs by Andr&eacute; Kert&eacute;sz from across the Pan-Americas.<br /><br />After Kert&eacute;sz and his brother Eugenie fled Hungary, Andr&eacute; immigrated to New York while his brother immigrated to Buenos Aires. The two remained close and frequently visited each other. This is the story of the Americas - of movement and displacement.<br /><br />Known for his lyrical, spontaneous photographs of everyday life, Kertesz's black-and-white images have exerted a strong influence on both art photography and photojournalism.</p> Tue, 30 Jun 2015 19:27:09 +0000 André Ethier - Paul Petro Contemporary Art - July 17th 7:00 PM - 10:00 PM Wed, 01 Jul 2015 10:38:26 +0000 Gary Evans - Paul Petro Contemporary Art - July 17th 7:00 PM - 10:00 PM <p style="text-align: justify;">The work in <em>Ghost Host</em> comes from two different groups of imagery and media. The process of constructing the imagery however shares some common attributes: both are additive processes that start with fragmented sources. In the case of the paintings, small isolated areas of the landscape are recombined to create a sense of unique space and presence. In the collage work, imagery with inherent texture and photographic detail become edited shapes or fragments with a sense of their own shape identity, combined to create new imagery.<br /> <br /> The paintings are inspired by historic reference points but combine painted elements derived from a variety of source material. My main intention is to create an underlying feeling, where one place with obviously physical exterior familiarity represents in a masquerade of sorts something psychological, a thought or sensation with its own sensibility. I like the idea that two or more things are going on simultaneously, objectivity being shaped and given new structure by the subjective. The structural aspect of composition resolving, binding and freezing in place. Although the paintings are full of flux and movement I also hope that a static balance is a recognizable point of entry into the simultaneity of image and mystery.<br /> <br /> The collages are driven by a sense of drawing through editing and cutting. The availability of printed colour, it&rsquo;s quality and ubiquity, lend the collages a different sensibility. However, the formal sensations I hope to evoke are similar to those in the paintings. What manifests itself is thankfully less controlled as the context of one shape against or over another creates novelty and spatial anomalies. That is for me the engaging process decided through the arranging that happens before the gluing. <br /> <br /> When I initially started this process I would carefully excise shapes from pictures with a knife leaving the page in the magazine. I was struck by how the remaining combinations revealed an underlying image far superior in a way to the constructed image I was making in white space. I realized at that point our expectations of collage are often predicated on it making random and unsettling or uncanny juxtapositions. In this way I actually feel that these collages are better described as a process of montage, with the specifics of form and the sense of photographic space and texture being composed in a very purposeful manner. The vibrancy that [I hope] they achieve comes from the juxtaposition of flatness, in both the white space and the magazine surface, against the form found in both the volume depicted in imagery and the identity of the shape and outline. <br /> <br /> It is the mystery of perceived movement that these montage works suggest which I find compelling; the sense of presence in the fabrics and shapes that speak of structure, like some great apparatus that has held them in place has suddenly disappeared and we see the impressions and tensions left behind. This idea of an inherent yet mysterious structure is the inspiration for the show&rsquo;s title and hopefully the link between the two bodies of work.<br /> <br /> -- Gary Evans, June 2015</p> Wed, 01 Jul 2015 10:39:45 +0000 Nicholas Crombach - Angell Gallery - July 25th 1:00 PM - 4:00 PM <div class="text"> <p style="text-align: justify;"><strong>ANGELL GALLERY</strong> is pleased to present <strong>NICHOLAS CROMBACH</strong><strong>: <em>TRAPPED</em></strong>, a solo exhibition of recent figurative sculpture by this award-winning artist. The show runs in the east gallery from <strong>July 25 to August 15, 2015</strong>, with an opening reception on <strong>Saturday, July 25, 1:00 to 4:00 PM</strong>.</p> <p style="text-align: justify;">In the past two decades, figurative sculpture has re-emerged as a potent form, with international heavy hitters such as Kiki Smith, Charles Ray, Maurizio Cattelan, Carole Feuerman and Pierre Huyghe using figuration to express a wide spectrum of issues.</p> <p style="text-align: justify;">In presenting 2014&rsquo;s twenty-five person group show, <em>The Human Factor: The Figure in Contemporary Sculpture</em>, the Hayward Gallery in London noted that artists today &ldquo;use the figure as a point of departure for exploring a far-ranging social landscape, and for questioning the ways in which we represent the &lsquo;human&rsquo; today.&nbsp;</p> <p style="text-align: justify;">Within Canada, emerging artist <strong>Nicholas Crombach</strong> is quickly joining the ranks of Evan Penny, Stephen Scofield and Karine Giboulo as an important figurative sculptor. While working within the tradition of representation, <strong>Crombach</strong>, like Giboulo, tackles contemporary ethical issues, specifically our dependency on, and obsession and coexistence with the animal world. Raised on a dairy farm, <strong>Crombach</strong> grew up surrounded by animals, and the works in <em><strong>Trapped</strong></em> act as a metaphor for humankind&rsquo;s paradoxical relationship with our fellow creatures.</p> <p style="text-align: justify;">Canny juxtapositions of domestic objects, human figures and animals, sculpted in clay then cast in resin, represent the complex dynamics of instinct and emotion. An aging male wearing long johns and a toque, a classic Canadian symbol, carries a toy bow and arrow. Like the other figures in <em><strong>Trapped</strong></em>, he appears resigned, exhausted, a prisoner of life, his weapons transformed from tools of survival into the accoutrements of a child&rsquo;s game. In the large wall-mounted sculpture, <em>Still Life</em>, a representation of a bear hide, coupled with a bouquet of flowers and an empty vase, reference the Dutch 17th century vanitas tradition, while questioning the ethics of trophy hunting and taxidermy.</p> <p style="text-align: justify;">Several works feature the unusual technique of embroidered lead. The contrast between these two very different materials is mirrored by the opposing themes they embody. In <em>Kissed Goodbye</em>, a pebble, slingshot and dead bird evoke both regret and triumph, a fitting statement on the human-animal relationship.</p> <p style="text-align: justify;"><strong>Nicholas Crombach</strong> graduated from OCAD University&rsquo;s Sculpture and Installation program in 2012. He has been awarded the Hayden Davies Memorial Award, Samuel Lazar Kagan Award, Abraham and Malka Green Award, and a BMO 1st Art Nomination. His work has been seen at Word On The Street, Katharine Mulherin Contemporary Art Projects, the Al Green Gallery and Whippersnapper in Toronto. He was also preselected for <em>Figurativas 13</em> at the Museum of Modern Art in Barcelona. In 2012 Crombach executed a public art commission, <em>Billy, Nanny, and the Kids</em>, in Burlington.</p> </div> Wed, 01 Jul 2015 10:26:00 +0000