PONDERINGS – Paintings by Harry Symons
Most of the works in this exhibition have been shown before, often as parts of complex installations: (recently in Kingston at Modern Fuel in the State of Flux Gallery as: “Cricket, Corrosion and Cafeterias – Continuing Confounding Conundrums”)
These were evolving events that occasionally also included video, digital and performance elements.They were conceived of as clusters of paintings that flowed to create an expanding sequence, and were also a visual metaphor for the tangents and distractions of current information technology. Through a process that explores colour and mark-making they are an attempt to make visual sense of the world today.
Now shown as individual paintings, Symons is offering an opportunity for a slower and more contemplative approach to each discrete work.
Born in Guelph, Ontario in 1960, Harry Symons has lived in Rockwood, Paris, Palmerston, Kiosk, all in Ontario, and Winnipeg, Thompson and Killarney in Manitoba.
He is currently based in Kingston, Ontario.
He studied Fine Arts at the Banff School of Arts in 1976, the University of Manitoba, (BFA Hons.’82) , and the Nova Scotia College of Art and Design (MFA, 1986).
He has worked at the Canadian Centre for Architecture in Montreal and The Manitoba Museum in Winnipeg.
Selected from more than 15 Solo exhibitions include: Plug In Inc. Gallery, 1997 (Winnipeg), SAW Gallery, 1986 (Ottawa), The <SITE> Gallery, 2004 (Winnipeg), and the Sandra Whitton Gallery, 2007 (Kingston).
Selected group exhibitions include: “Strategies Urbane: Projets Recent” at the Canadian Centre for Architecture 1994/95, “Sit(E)ings:Trajectories for a Future” at the Winnipeg Art Gallery, 1999, and “The Occidental Occupant” at the Art Gallery of Calgary 2001.
Symons is a member of “The Agitated Plover” Collective, made up of a group of artists who had participated in “Your Own Grad School” (YOGS) at Modern Fuel. This group has made a number of pop-up exhibitions in various venues, including a garage, an old city jail, a limestone basement and a room at Kingston Motel West.
Self with Others/Portraits
Paintings by Ann Clarke
April 16th. to May 21st. 2016.
Gary Michael Dault
SMALL PAINTINGS / BIG TROUBLE
March 5 – March 26, 2016
The “Small Paintings” part of my title seems clear enough. Of the thirty-four pictures making up this exhibition, the largest is only 11” x 12”, while the smallest is smaller than a business card.
The “Big Trouble” part, however, probably needs some clarification. The fact is that while my large paintings are rapid and open, what you might call fully-declared, these little ones are anything but. While they are certainly not laboured, they are reasonably (sometimes unreasonably) worked up.
I make them on a table near my keyboard, and when I tire of writing, which is frequently, I go and effect a painting. This happens many times in a single day. I work very rapidly, and use scraps of paper or corrugated cardboard, some of which I pick up from the floor and some of which already bear the blobs and streaks of earlier scuffles in the studio. My painting of these new pictures often amounts simply in assisting them into becoming considerably more than they had been before. I assist them with slaps of paint, scrapings, frottage and other kinds of creative abuse (such as attaching things to them using a stapler) and, if all else fails, collage. I steadfastly refuse to let a painting die, and if it seems to be dwindling into something insipid and lifeless, I simply collage it back to life.
Most of these small paintings are insistently, unabashedly literary; they are hand-held story-tellers (usually centrifugal shards of larger, as yet unimagined narratives), and, since quite a number are landscapes, they possess, despite their scale, an inescapable sense of vista, of imaginative enterability that I find diverting and, in the end, satisfying.
I want to add a word about their frames. No two of the paintings are framed alike, and, since working on them with Laurel Taylor at Picturesque in Napanee, Ontario—to whom I send great thanks—I have become almost as interested in their frames and the effects of their framing as I am in the paintings themselves.
Gary Michael Dault
February 24, 2016
Collages and Constructions by Ann Clarke
November 28 to December 28, 2015
Opening reception & seasonal celebration: Saturday, 12 December, 2 to 5 pm.
Regular open hours: Thursdays and Saturdays from 2 to 5pm.
Closed December 24, 25 & 26.
At any other times by appointment – phone 613 378 6993 to visit.
This is a rare chance to see Ann Clarke’s constructions and collages. These intimate and bold constructions represent a departure in materials for Clarke from the paintings she is best known for, while still adhering to her playful compositions and sensitive colour sense.
Clarke talks about these works in her statement:
“When I was very young, the fine golden curls made by the plane in the hands of my uncle as he ran it over a beam of oak or pine, were fascinating. I picked them off the floor, wanting to keep them so I could go on enjoying the way they looked instead of throwing them on the fire – although they did look very good flaring up on the red coal embers.
Now, as I find myself immersed in the digital world with information everywhere at my fingertips – and still surrounded by nature with all its weather and birdsong – there is so much with which to play. Bits of bark, fragments of fabric, bus tickets, city maps, household packages, stamps, postcards, shells and stones – collecting, saving. Often they are simply attractive things, sometimes saved for something helpful – like all the silver foil we collected when I was a girl for “Guide Dogs for the Blind” or the “Royal National Lifeboat Institution,” gas tokens or Green Stamps. Put together, artfully arranged, they tell stories, carry memories, serve as travel diaries, and create visual novellas.
I am collecting, arranging, improvising and playing with stuff in a world of parts – making it go together into something that has not been seen before. Working to trigger the imagination and please the eye, to reward and provoke, to be still and reveal itself more fully over time. I am still a painter using bits and pieces as well as coloured sticky stuff. I am a maker. It is all from this world, it is all real.” Ann Clarke 2015
Ann Clarke’s work is predominantly painting and drawing, with regular excursions into site specific installation, abstract sculpture and print. Always strongly abstract, the work often supports references to her travel, world events, and memory by making connections, observing contrasts and comparisons.
Born in England, Clarke received her art education at the Slade School of Fine Art, University College, London University. She has lived and worked in Canada since 1968.
Ann Clarke has taught at many art institutions in Canada, including The Banff Centre, the University of Alberta, the University of Saskatchewan, Nova Scotia College of Art and Design, Queen’s and Guelph Universities. In 1978-79 Clarke was Program Co-ordinator of the S.U.B. Gallery at the University of Alberta, 1985-86 she was the Adult Program Co-ordinator in the Creative Arts Dept. at the Royal Ontario Museum, and she was the Artistic Director of the K.A.A.I. (now Modern Fuel Artist Run Centre) in Kingston from 1989-91. From 1992 she taught in the Department of Visual Arts at Lakehead University and retired in 2009 as Professor Emerita. In 2008 Clarke was elected to membership of the Royal Canadian Academy of Art.
Since 1969 Ann Clarke has had more than thirty solo exhibitions and since 1966 has shown work in more than ninety group shows in Canada, Britain, and the U.S.A. Her work is in public and private collections in Canada, Britain, U.S.A. and Australia.
Colour. Grid. Play.
An exhibition of recent works
October 3 – October 31, 2015
Milly Ristvedt, RCA, maintains an art practice that centres on the exploration of colour and its power as a visual language to speak and engage on a limitless range of subjects.
This exhibition consists of two recent works in which colour plays a primary role of expression, with dissimilar aims. Increments (2015), notes the difference between incremental change and meaningful progress. It begins with a notion of order in which internal forms follow strict rules of change while the colours of each of its 66 panels, in contrast, are randomly chosen.
Grid Play (2015), a set of six small paintings, contains squares and rectangles of carefully selected colours that dance on gridded grounds of primary and secondary colours. That’s all they do, and they do it with joy.
Ristvedt studied at the Vancouver School of Art (now Emily Carr University) before moving to Toronto in 1964 where she first exhibited with the Carmen Lamanna Gallery. In Montreal from 1970-73 she was instrumental in founding Véhicule Art Inc., the city’s first artist-run centre.
Tamworth-based since 1976, Ristvedt has had more than 50 solo exhibitions in public and private galleries and artist-run centres in Canada since 1968; the most recent at Walnut Contemporary Gallery, Toronto, in 2013. Her work has been exhibited internationally and can be found in major collections in Canada, the U.S. and abroad, including the Art Gallery of Ontario, Agnes Etherington Art Centre, Canada Council Art Bank, Musée d’art Contemporain de Montréal, Boston Museum of Fine Arts and the Vancouver Art Gallery. In 2011 Ristvedt received a Master’s in Art History from Queen’s University. She is currently Advocacy Representative for the Royal Canadian Academy of Arts
Off the Cuff – Colour Blocking
Ann Clarke and Gary Michael Dault
September 19 – September 26, 2015
This was a one week only collaborative installation by two artists who embarked on an improvisational examination of colour.
Ann Clarke – Off the Cuff – Floor installation – 2015
Lodge detail – 2015
Clarke Art & Projects at The Newburgh Gallery
August 8 – September 12, 2015
Darrah is a Kingston-based artist and educator who mixes orphaned imagery, found materials, and abstract grounds to create two and three-dimensional works that speak of our relationship with our environment and our understanding of perception.
The works in Askew are drawn from three of his discrete, yet overlapping series: Bleak Outlook, Thinking of Clouds, and Askew.
The components of Bleak Outlook are predominantly black(ish) paintings that explore the making of beautiful objects in the face of media propagated pessimism. Thinking of Clouds plays with orphaned images and contrasts the construction of ideas with concrete materiality. The works of Askew are wall sculptures that tackle randomness and intention.
All three series look at ways that, through the combination of disparate elements, meaning is implied.
Darrah received his BFA from the University of Alberta, with a specialization in sculpture, and his MFA from the University of Windsor, specializing in painting. He also has a B.Ed from Queen’s University. Darrah has exhibited in Canada and Europe and his work can be found in collections in Canada, the United States, and Europe.
June 18 to July 18, 2015
Featuring works by: Wendy Cain, Ann Clarke, Ben Darrah, Sheila Dunkinson, Gesina Laird-Buchanan,
Paul Langevin, Theresa Latham, Mark William Laundry, Barry Lovegrove, Barbara Marlin,
Hennie Marsh, Tim Nimigan, Rick Phieffer, Marta Scythes, Sharon Thompson
Installing the Landscape Plus show
Some of the works in the Landscape Plus exhibition – south wall.
More Landscape Plus works – North wall
Landscape Plus – Gallery Windows on day of opening reception.