Art Toronto 2019: October 24–27, 2019
Booth C3

(in English only)

Pierre-François Ouellette art contemporain is happy to participate to the 20th-year-edition of Art Toronto. The booth was conceived with the themes of “landscape re-envisioned” and the “human figure reconsidered” in mind reuniting the works of 12 artists from within the gallery, and artists we admire. The booth will feature works by Lise Beaudry, Mark Clintberg, Karilee Fuglem, Adad Hannah, Dil Hildebrand, Benjamin Klein, Glenda Leon, Edward Maloney, Meryl McMaster, Kent Monkman, Ed Pien and Chih-Chien Wang.

The gallery thanks SODEC for its support.

LISE BEAUDRY  /  MARK CLINTBERG  /  KARILEE FUGLEM  /  ADAD HANNAH  /  DIL HILDEBRAND  /  BENJAMIN KLEIN  /  GLENDA LEÓN  /  EDWARD MALONEY  /  MERYL MCMASTER  /  KENT MONKMAN  /  ED PIEN  /  CHIH-CHIEN WANG  / 




TIAF TIAF


TIAF TIAF


TIAF TIAF


TIAF TIAF


TIAF TIAF


TIAF



LISE BEAUDRY
landscape landscape
Lise Beaudry
Chez Sandy
2018
1,600 pigmented archival prints
33 cm x 20.3 cm x 20.3 cm (13" x 8" x 8")
Lise Beaudry
Whitescape X
2011
pigmented archival print mounted on aluminum panel.
101.6 cm x 137.2 cm (40" x 54")
Ed. 3


CHEZ SANDY

Chez Sandy is a stack of 1,600 photos that form one complete image, a sculptural representation of a holga snapshot of the artist’s son and a family friend. Chez Sandy is about chosen family. The image is created by extracting each row of pixels from the original photograph, stretching them into 8x8 images that are printed individually. The prints are layered in sequential order to reconstruct the original image visible on the side of the stack as opposed to the surface of the photograph.

“Chez Sandy shifts between states: the form of the piece references the tropes of monumental sculpture, yet its composition consists of stacks of paper that are not adhered to the riser that it is placed upon; the form of the stack column is a solid mass, yet the image on its surface appears to be disintegrating before us. Conceived of as a work intended to serve as an comment of how “familial” bonds can be formed with those who are of no biological or legal relation one would assume that the work stands as a memorial to the strength of friendship, yet it appears complicit in its own deconstruction.”

- Sally Fraser, curator of exhibition Lignes d’horizon, lignes de repère at Center

ON WHITESCAPE

"In this work, I contemplate the act of standing on the vast, remote, temporary and mysterious landscape of a frozen lake.  Whitescape is a series of photographs of these white surfaces that are in constant flux.  Adapting a minimalist approach and using the tools of photography, I produce images of almost nothing. Shot at a close distance to the surface of frozen and thawing lakes, I focus on the temporal quality of the snow or ice formation and texture." 

- Lise Beaudry

"The experience of standing on ice is a careful balancing act, involving meditative thought and leading up to the confident step forward. Beaudry considers the experience of the terrain rendered white and blank by snow and ice; her winter imagery questions our own experience and offers pause and personal reflection."- Stuart Keeler, curator of exhibition “Standing on Ice” at Art Gallery of Hamilton

"Beaudry’s process is also key to understanding her works. Her journey out onto the ice of frozen lakes is a meditative experience, and the works can be read as evidence of her evasive experience of the planes at which she stood to make the photographs She considers the site of a frozen lake to be somewhat extraordinary, in that it will never be the same from winter to winter, or even day to day. The surface of that site, the ice, will always disappear and then renew again the next year. She takes pleasure in the journey itself. Rebecca Solnit’s writings always walking are a captivating embellishment of this topic: “When you give yourself to places, they give you yourself back… Exploring the world is one of the best ways of exploring the mind, and walking travels both terrains.”

- Melissa Bennett, curator of exhibition Out of Place/Non lieu at the Art Gallery of Hamilton

--

"As a queer and Franco-Ontarian artist, I seek ways to do and think with photography as a platform for experimentation. In recent works, I experimented with the physical transformation of photographs by shredding them and by piling thousands of them into a stack. When using a camera, I approach photography as an act of reduction with an impulse for pointing out ambiguity and absence. In making photo-based sculptural installations I use images as raw material instead as an end result, conveying the mutability of the meaning and logic of photographs. I use unconventional ways of making as strategies to defy the traditional expectations of truth and accuracy in photography. What excites me is when photography’s concrete representational quality is replaced with a slippery introspection. In recent works, I used this approach to disrupt fixed family narrative and to unfix homogeneous representations of family."

- Lise Beaudry

- For more information and other works: Cimes Cieux
- Lise Beaudry's website


MARK CLINTBERG
landscape landscape
Mark Clintberg
Hair (Namek)
2019
woven 100% cotton, embroidery thread, hand cut and sewn acetate sequins, polyester patches
132.1 cm x 94 cm (52" x 37")
Ed. 2
Mark Clintberg
Hair (Stephen)
2019
woven 100% cotton, embroidery thread, hand cut and sewn acetate sequins, polyester patches
132.1 cm x 94 cm (52" x 37")
Ed. 2


These works from a new series of textile works returns to and refigures an earlier body of work titled Hair. Hair photographically catalogues found photographs of men’s haircuts displayed in barbershop windows. The artist’s silhouette is subtly reflected by the glass in front of each found photo, and these images of haircuts are named according to resemblance to individuals known by Clintberg. These images, which were first printed on fragile newsprint (a material that fades and deteriorates easily) have been translated into woven form.

Each textile work is produced through a fabricator specializing in jacquard woven blankets featuring photos provided by consumers - blankets that are marketed as personal commemorative objects. Each textile object is hand embellished with stitching, fabric editioning labels, and hand cut sequins. In this series, the artist’s own earlier work becomes the source of sentiment and nostalgia, as do the barbershop photos themselves - images that record unnamed male models that are coincident with the first HIV/AIDS generation.

--

Mark Clintberg is an artist who works in the field of art history, and curates’ exhibitions. He is an Assistant Professor at the Alberta University of the Arts. He earned his Ph.D. in Art History at Concordia University in 2013, where he was also an Assistant Professor, LTA. In 2010 he conducted Ph.D. research at Oxford University, St Peter's College, with the support of the Social Sciences and Humanities Research Council. He completed his M.A. at Concordia University (2008), his B.F.A. at the Alberta College of Art & Design (2001), and was an exchange student at the Nova Scotia College of Art & Design (1999-2000). He was Shortlisted for the 2013 Sobey Art Award for the region Prairies and the North. His doctoral dissertation was nominated for the 2013 Governor-General's Gold Medal. Public and private collections across Canada and in the United States - including the National Gallery of Canada, the Edmonton Arts Council, and the Alberta Foundation for the Arts - have acquired his work. His work has recently been shown at the Dunlop Art Gallery (Regina), the Art Gallery of Nova Scotia (Halifax), the Art Gallery of Alberta (Edmonton), the Illingworth Kerr Gallery (Calgary), AXENÉ07 (Gatineau), and Trapdoor Artist Run Centre (Lethbridge). Other exhibitions featuring his work have taken place at Locust Projects (Miami), the National Gallery of Canada (Ottawa), the Banff Centre, Centre des arts actuels Skol (Montreal), The Harbourfront Centre (Toronto), and Eastern Edge (St. John's), Alberta Biennal 2017 and at Fruitmarket Gallery (Écosse).

- For more information and other works: Fruit and Flowers
- Mark Clintberg's website
- Click here to download the Mark Clintberg's recent C.V.


KARILEE FUGLEM
landscape
Karilee Fuglem
Back to you (Receptive Series 1)
2019
Polyester (Dura-lar) matte and transparent films; steel rods; thread; wood frame with plexiglass (sanded front)
44.5 cm x 77.5 cm x 15.8 cm (17.5” x 30.5” x 6”)


In the Receptive series, bands of brightness move in swaths across a translucent screen. Hidden transparent materials reflect available light and are connected to external “feelers” which respond to ambient air. The action is live.

--

Karilee Fuglem's work takes the form of installations, drawings, photographs and artist books, through which she explores visual subtlety as a key to embodied perception. Raised in Kamloops, British Columbia, she has lived in Montreal since 1989, and frequently travels back and forth between her two "homelands." She has presented solo across Canada, notably at the Darling Foundry (Montreal), the Koffler Gallery (Toronto), Oakville Galleries (Oakville, Ontario), Centre d'art Expression (Ste-Hyacinthe), Two Rivers Gallery (Prince George, BC) and in numerous group exhibitions, including the Biennale de Montréal in 1998 and 2011. Her work can be found in the collections of the Musée d'art contemporain, the Musée national des beaux arts du Québec, the National Gallery of Canada, The Whyte Museum of the Canadian Rockies, Cirque du Soleil, BMO, Bennett Jones LLP among others. A major installation is currently on view in the permanent collection exhibition of the Musée national des beaux-arts du Québec.

- Karilee Fuglem's page on the PFOAC website
- Karilee Fuglem's website
- Click here to download the artist's recent C.V.


ADAD HANNAH
landscape landscape landscape
Adad Hannah
Untitled (The Benedictions with green strokes)
2019
Hand-painted Optium museum acrylic over archival pigment print
91.4 cm x 61 cm (36" x 24")
Unique work
Adad Hannah
Untitled (Two figures to be upsized with pink and yellow supports)
2019
Hand-painted Optium museum acrylic over archival pigment print
91.4 cm x 61 cm (36" x 24")
Unique work
Adad Hannah
Untitled (The Inner Voice ascending)
2019
Hand-painted Optium museum acrylic over archival pigment print
91.4 cm x 61 cm (36" x 24")
Unique work


landscape landscape landscape
Adad Hannah
Untitled (The Kiss with red and green strokes)
2019
Hand-painted Optium museum acrylic over archival pigment print
61 cm x 91.4 cm (24" x 36")
Unique work
Adad Hannah
Untitled (The Cathedral from below)
2019
Hand-painted Optium museum acrylic over archival pigment print
61 cm x 91.4 cm (24" x 36")
Unique work
Adad Hannah
Untitled (Two arms in a mirror)
2019
Hand-painted Optium museum acrylic over archival pigment print
61 cm x 91.4 cm (24" x 36")
Unique work


landscape landscape
Adad Hannah
Untitled (Two bodies in profile)
2019
Hand-painted Optium museum acrylic over archival pigment print
61 cm x 91.4 cm (24" x 36")
Unique work
Adad Hannah
Untitled (The Muse and others with green, yellow, and white)
2019
Hand-painted Optium museum acrylic over archival pigment print
61 cm x 91.4 cm (24" x 36")
Unique work
 


“With Rodin Reworked, the paint that Adad Hannah applies over photographs of Auguste Rodin’s sculptures comes into view like some kind of alien matter, interrupting the material circumstances of both sculpture and photography. The paint is viscous and amorphous, but it also has an energetic force. The result is that Hannah’s lively gestures of pigment appear to interact with Rodin’s gesturing bodies.

Hannah has been working with Rodin over an extended period of time. What does it mean for a contemporary artist to “work with” a long-deceased historical artist? There is certainly an element of paying homage to the earlier artist, but this sustained relationship goes beyond that to become a genuine conversation across time. In Rodin’s work, Hannah has found a generative source (or sounding board) for his own, twenty-first century interrogation of images and bodies. More precisely, Hannah’s repeated encounters with Rodin allow him to explore a tension between still and moving images, and simultaneously, a tension between still and moving bodies. (…)

In this recent body of work, as with some of the earlier Rodin-oriented projects, it is the relationship between sculpture and photography that comes into focus, even while the expressivity of moving/gesturing bodies is still key. The art historian Rosalind Krauss has written that “the surface of the body, that boundary between what we think of as internal and private, and what we acknowledge as external and public, is the locus of meaning for Rodin’s sculpture.” This value accorded to the surface of the body rings true for Hannah, but in the Rodin Reworked artworks it is also the surface of photographs which is at stake. It’s useful to know that Rodin himself developed a habit of drawing directly onto photographs of his works-in-progress or finished works. But Hannah is actually painting on the glass protecting the image, and not on the photographs themselves, and what this does is complicate the very question of surface. Hannah’s painterly marks lie neither on the surface of the sculptures nor on the surface of the photographs, and instead the paint seems to hover mid-air, and between media. These mysteriously detached marks have life-like agency, that energizes and re-activates both sculptures and photographs, giving new life to those remnants of the past.” 

- Johanne Sloan, Department of Art History, Concordia University

--

Born in New York in 1971, lives and works in Montreal. Since 2001 Adad Hannah has been working on his series Stills consisting of silent videos that exist at the intersection of performance, photography, and video. Based on the 19th-century practice of tableaux vivants, Hannah’s videos, photographs, and installations look at how we perform as spectators, and how our gaze can be a constructive one as we try to make sense of ourselves and the world around us.

He has exhibited at the Musée national des beaux-arts du Québec (2008), the Musée d'art contemporain de Montréal (2008), Zendai MoMA, Shanghai (2009), Ke Center for Contemporary Art (Shanghai 2008), the Vancouver Art Gallery (2007), the National Gallery of Canada (2011, 2006), Ikon Gallery (Birmingham 2006), the 4th Seoul International Media Art Biennale (2006), Casa Encendida (Madrid 2006) and Viper Basel (2004). In 2004 he won the Toronto Images Festival Installation/New Media Award, and the Bogdanka Poznanovic Award at Videomedeja 8. His work has been funded by the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the B.C Arts Council, the Vancouver Foundation/Contemporary Art Gallery, the Quebec Delegations and Canadian Embassies in Madrid, Seoul, and New York. He has produced works at museums including the Montreal Museum of Fine Arts, the National Gallery of Canada, the Vancouver Art Gallery, the Rodin Gallery (Seoul), and the Prado Museum (Madrid).

Hannah’s work can be found in the collections of the National Gallery of Canada, Musée d’art contemporain de Montréal, the Montreal Museum of Fine Arts, the Ke Center for Contemporary Art (Shanghai), the Zacheta National Gallery of Art (Warsaw), BMO Financial Group and the Royal Bank of Canada.

A major touring solo exhibition organized by the Musée d’art de Joliette, “Adad Hannah: Glints and Reflections” opens at the Kitchener-Waterloo Art Gallery November 1st.

- For more information and other works: Rodin Reworked
- Adad Hannah's website
- Adad Hannah's page on the PFOAC website
- Click here to download the artist's recent C.V.


DIL HILDEBRAND
landscape landscape landscape
Dil Hildebrand
Procession (part 1-2)
2019
Wood, paper, foam, plaster, sand, sawdust, glue
157.5 cm x 142.2 cm x 50.8 cm (62" x 56" x 20")
Dil Hildebrand
Procession (part 1)
2019
Wood, paper, foam, plaster, sand, sawdust, glue
142 cm x 80 cm x 51 cm (56” x 32” x 20”)
Dil Hildebrand
Procession (part 2)
2019
Wood, paper, foam, plaster, sand, sawdust, glue
142 cm x 75 cm x 51 cm (142” x 75” x 20”)


landscape
Dil Hildebrand
Modus
2019
acrylic media, nylon fibre, epoxy on acrylic panel mounted to wood
91.4 cm x 68.6 cm x 4.5 cm (36" x 27" x 1.74")




New body of work unveiled for the first time as a preview to the upcoming exhibition at PFOAC November 9th.

Hildebrand arranges a selection of anachronistic sculptures, paintings and drawings. Generated from an array of pre-modern and modern sources, enlisting Medieval, Cubist and Constructivist formal vocabularies, Hildebrand’s ideas and images emerge out of a dialogue with art history in the wake of conceptual art.

Hildebrand’s paintings, made with acrylic media and nylon flocking on acrylic panels, are based on rugs and wallpaper motifs, palettes and textures from Medieval and Victorian origins. Flocking, a surface treatment of filament powder used as early as 3000 years ago, is now commonly used to make carpets and to decorate wallpaper and consumer products. Applied with silkscreens onto clear acrylic panels that echo touch-screens, Hildebrand uses contemporary materials and processes to make paintings that cut across time, linking new technologies with their lineage in traditional image craft. The sculptures that Hildebrand introduces into the company of his paintings similarly appear suspended in time, recalling bas-relief sculpture and church statuary while applying a decidedly modern cut-and-paste approach. Made of wood, plaster, foam, sand and sawdust, the sculptures echo pre-modern objects excavated from the earth, like Pompeiian relics. The 9’ long frieze sculpture Procession, the first section of an ongoing artwork, is derived from a tradition of Western art depicting long ceremonial processions attending church clerics through city streets. Read (and created) from left to right, Hildebrand’s version is populated with more-or-less abstract and representational forms, composing a narrative arc and appearing to represent several actions unfolding, or perhaps a series of the artist’s thoughts in process.

--

Born in 1974 in Winnipeg, Dil Hildebrand lives and works in Montreal. He has recently mounted a major exhibition at the Art Gallery of Burlington, ON, and is currently exhibiting Dancing on the Grave, a duo exhibition with Patrick Thibert at Woodstock Gallery, ON. His work is included in public collections such as the National Gallery of Canada, the Musée d’art contemporain de Montreal and the Montreal Museum of Fine Arts.

- Dil Hildebrand's website
- Dil Hildebrand's page on the PFOAC website
- Click here to download the Dil Hildebrand's recent C.V.


BENJAMIN KLEIN
landscape
Benjamin Klein
Shifter
2018
Oil on canvas
152.4 cm x 152.4 cm (60" x 60")


" […] In the most recent work, dislocations of space and perspective have become more pronounced, the cast of characters broader and more allusive, and the atmosphere more animistic and otherworldly. Previously the work was concerned to remain at least a potential representation of our world, but now has become something else. Freed to represent a magical, oneiric ecosystem, it has become an image of representation itself—which may or may not philosophically be the same as reality in the full sense. I have engaged with the notion of the afterlife or the spirit world; not the actual existent one (if it does exist) as we imagine it along cultural or personal lines, but a realized metaphor for it. To the extent that there is a difference between such a metaphor and such a reality, I paint a place where the mind or the soul, which themselves can be seen as metaphors to begin with, are the figures for which their content becomes the ground.

I want to catch—not capture, but catch—the moment/place when and where reality and fiction unravel and combine, when reality and unreality become and are the same thing, where the rules bend and finally break—a landscape that generates the uncanny sense that the viewer is both there, and has been there before—even though it is not a realistically possible place or occurrence. The characters I depict are like the paintings they inhabit—the paintings themselves are the major characters, and all the things depicted within can be seen as figures, i.e. trees, flowers and clouds are just as potentially ‘alive’ as tortoises, cows, or bunnies. The whole painting is asked/made to function as an ‘eye’ that sees the viewer metaphorically just as the viewer literally sees the painting, much like a dramatic character that breaches the fourth wall and speaks directly to the audience. […]”

- Ben Klein

--

Benjamin Klein was born in Chicago and grew up in Montreal. Klein’s landscape paintings depict a colourful, shadowy, and ambiguous nocturnal world of uncertain proportions and materiality. Shifting constantly in psychological as well as physical dimensions, his world is populated by anthropomorphized, animal-like characters that interact and metamorphose in fragmented scenes, fraught with semiotic and symbolic potential. He holds a BFA from Concordia University in Studio Arts, and an MFA from the University of Guelph. In 2010 he was a finalist in the RBC’s National Painting Competition. He has exhibited across Canada, in the USA, the UK and Germany.

- Benjamin Klein's website
- Click here to download the Benjamin Klein's recent C.V.


GLENDA LEÓN
landscape landscape
Glenda León Cada respiro (Tierra) / Every breath (Earth)
2015

Single channel, sound, color
1min 19s
Ed. 3
Glenda León
Inversión III / Inversion III
2015
Single channel, sound, color
4 min 40 s
Ed. 5


Glenda León is a Cuban artist born in Havana, in 1976. She has received prizes such as The Pollock-Krasner Foundation Award and residencies like Couvent des Recollets, in Paris and Fonderie Darling, in Montreal. Her works belongs to the permanent collections of Georges Pompidou Centre, Museum of Fine Arts of Houston, Hammer Museum, Cuban National Museum of Fine Arts,  PAMM, Montreal Museum of Fine Arts, Montreal Museum of Contemporary Art, the Art Gallery of Ontario, and the Colorado Springs Fine Arts Center's Museum.  León started her Visual Art studies since 12 years old and since 1999 started to participate in group exhibitions . She has also studied Classical Ballet and Philology at the University of Havana, where she got a BA in Art History. León graduated from the Academy of New Media, Cologne, Germany in 2007.

She was part of the Cuban Pavilion in the 55th Venice Biennial with the sound installation Music of the Spheres (2013). She has also been invited to the Havana Biennial, Cuba; the SITE Santa Fe Biennial, US;  the Jafre’s Biennial, Spain; the Bienal de Arte Paiz, Guatemala and the Dakar Biennale, Senegal. Other group shows in which she has particpated has taken place in venues such as Brooklyn Museum, New York; CCA Wattis Institute, San Francisco; Bronx Museum, New York; Centre d'Art Contemporain Villa du Parc, Annemasse, France; Badischen Kunstverein, Karlsruhe, Germany; City Art Museum Ljubljana, Slovenia; The Mattress Factory, Pittsburg; Rhode Island School of Design Museum, Rhode Island; Nuit Blanche, Toronto, Canada; MART Museum, Rovereto, Italy; CIFO, Miami; Centre for Contemporary Art Laznia, Gdansk, Poland; Musée des Beaux‐Arts de Montréal, Canada; Yerba Buena Center for the Arts, San Francisco and De Appel, Amsterdam, Holland.

She has present her work individually at CDAV, Havana, Cuba; Le Plateau Espace Expérimental, Paris, France; Chateau des Adhemar, Montéllimar, France; Matadero Madrid, Spain and Centro Atlántico de Arte Moderno CAAM, Las Palmas de Gran Canaria,Spain among other spaces. Her work has been published in several magazines, catalogues and newspapers such as Bomb Magazine, Art Nexus, Art Forum, Flash Art and Artecubano.

- For more information and other works: Cimes Cieux
- Watch Every breath (Earth)
- Watch Inversion III
- Glenda León's website
- Click here to download the Glenda León's recent C.V.


EDWARD MALONBEY
landscape landscape landscape
Edward Maloney
Mecca Hills
2019
Inkjet print
50.8 cm x 68.6 cm (20" x 27")
Ed. 3
Edward Maloney
Willow Hole
2019
Inkjet print
33 cm x 39.4 cm (13" x 15.5")
Ed. 3
Edward Maloney
Ladder Canyon
2019
Inkjet print
33 cm x 39.4 cm (13" x 15.5")
Ed. 3


landscape
Edward Maloney
Joshua Tree
2019
Inkjet print
33 cm x 39.4 cm (13" x 15.5")
Ed. 3


Edward Maloney’s practice reflects an interest in perceptible relationships between photography, painting, video and immersive installations. There is an optically-driven aesthetic worked into my use of these different mediums that emphasizes the Lens as the root of influence. My work explores the relationship between travelling, motion, and optical perception - and finding a bridge between representational art and abstract art.

This new group of photographs were developed from photos taken in Southern California - filtering them through a series of analog cameras and devices that reconfigure the light and composition into new other-worldly landscapes.

--

Edward Maloney is a multi-disciplinary artist interested in links between photography, painting, video and immersive installations. His work and collaborations were featured at Le Festival Montréal en Lumière and Nuit Blanche in Montreal, and in multiple Canadian galleries including Pierre-François Ouellette art contemporain, The Art Gallery of Burlington, L’Écart, Show and Tell Gallery, Red Bird Gallery, Galerie les Territories, and pfoac221. He was selected to represent Canada at the World Event Young Artists in Nottingham, England during the Cultural Olympiad in September 2012 - presenting an interactive installation entitled "Figments of Reality”. Edward Maloney lives and works in Montreal.

- Edward Maloney's website
- Click here to download the Edward Maloney's recent C.V.


MERYL MCMASTER
landscape landscape landscape
Meryl McMaster
Ordovician Tide I, II, III
2019
chromogenic print
101.6 cm x 152.4 cm (40" x 60") each
Ed. 5


Ordovician Tide I, II, III

500 million years ago.
Histories written in the rocks.
Travelling ‘cross the ocean,
from Cabot Fault.
Ancient branches run through the Emerald Isle and Scotland.
At the precipice in-between.
An urgent need to preserve our stories.
Is someone listening in the future?
Place: Green Point/The Cabot Fault, Newfoundland

kayās askiya kā kī ispayiki.
kayāsi ispayowina masinahikātēwa asinīhk.
pimācihohk kihcikamihk,
osci Cabot Fault.
kayāsi watihkwana pimihtina kwayaskinohk Emerald ministik ēwka Scotland.
ēkota kā tāskāk sastowāyihk.
poko ta pimācihtāyahk ki tācimowinowa.
awiyahk nitohtamok nīkānihk?
tāntē: Green Point /The Cabot Fault, Newfoundland 

"The way we experience the passing of time shapes our relationship to our immediate world. My awareness of time comes from an overlapping of two distinct approaches—one is that of a linear path that extends in both directions from the present, and another one that is recurrent and cyclical. This intersection of world views has been part of my upbringing, a result of being born into a family both Western (British/Dutch) and Indigenous (Plains Cree). Many places I visited hold particular meaning for my direct ancestors as they are sites of significant moments in their lives; I was drawn to the sites of ancient stories across central and southern Canadian Prairies and to the shores of early settlement in the Canadian Maritimes. My aim was to reconnect with those who came before me as a way of introducing myself to the land on which they lived. I came to see these landscapes as immense time capsules of buried knowledge. As Immense as the Sky is about walking these ancient paths, experiencing the diversity of panoramas, and learning about my ancestors’ wisdom.”

- Merry McMaster

--

McMaster is the recipient of the Scotiabank New Generation Photography Award, the REVEAL Indigenous Art Award, Charles Pachter Prize for Emerging Artists, the Canon Canada Prize, the Eiteljorg Contemporary Art Fellowship, the OCAD U Medal and was long listed for the 2016 Sobey Art Award.

Her work has been acquired by various public collections within Canada and the United States, including the Canadian Museum of History, the Art Gallery of Ontario, the Canada Council Art Bank, the Eiteljorg Museum, the National Museum of the American Indian, the Ottawa Art Gallery, the Nelson-Atkins Museum of Art and Indigenous and Northern Affairs Canada.

Her work has been included in exhibitions throughout Canada, the United States and the United Kingdom, including the Smithsonian’s National Museum of American Indian, the Art Gallery of Ontario, Prefix Institute of Contemporary Art, the Eiteljorg Museum, the Ottawa Art Gallery, the Museum of Contemporary Native Arts, the McMichael Canadian Art Collection, the Mendel Art Gallery and the Art Gallery of Greater Victoria. She currently has a solo touring exhibition across Canada titled Confluence traveling until 2020.

- Meryl McMaster's website
- Click here to download the Meryl McMaster's recent C.V.
- Gabrielle Moser "As Immense as the Sky" Canadian Art, September 4, 2019


KENT MONKMAN
landscape landscape landscape
Kent Monkman
My Treaty is With the Crown
2011
Etching and aquatint on paper
31.7 cm x 51 cm (12" x 20")
Ed. 75
Kent Monkman
The Academy
2011
Etching and aquatint on paper
34.5 cm x 50 cm (13.5 x 19.5")
Ed. 75
Kent Monkman
The Scream
2017
Copper plate etching on acid free paper
29.2 cm x 39.4 cm (11.5" x 15.5") Unframed
Ed. 100


landscape landscape landscape
Kent Monkman
Raven Putto
2007
Graphite on Acid Free Paper
10.8 cm x 10.8 cm (4.25" x 4.25") unframed
33 cm x 30.5 cm (13" x 12.75") framed
Kent Monkman
Study for Artist and Model (Miss Chief and Crow)
2003
Graphite on Acid Free paper
17.8 cm x 24.1 cm (7” x 9.5”) unframed
31.75 cm x 38 cm (12.5” x 15”) framed
Kent Monkman
Spit Roast
2002
Graphite on Acid Free paper
35.6 x 27.9 cm (14” x 11”) unframed
53.25 cm 44.5 x (21” x 17.5”) framed


landscape
Kent Monkman
Resilience Plate
2018
Cobalt overglaze on ceramic
25.4 cm x 25.4 cm (10" x 10")
Ed. 150



Kent Monkman, born in Canada in 1965, is a Cree artist who is widely known for his provocative interventions into Western European and American art history. He explores themes of colonization, sexuality, loss, and resilience—the complexities of historic and contemporary Indigenous experiences—across a variety of mediums, including painting, film/video, performance, and installation. Monkman’s gender-fluid alter ego Miss Chief Eagle Testickle often appears in his work as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples.

With Miss Chief at center stage, Monkman has created site-specific performances at the Royal Ontario Museum, the Smithsonian’s National Museum of the American Indian, Compton Verney, and the Denver Art Museum. His painting and installation works have been exhibited at numerous institutions including the Musée des Beaux-Arts, Montréal; the Musée d’art contemporain de Montréal; the Art Gallery of Ontario; the National Gallery of Canada; the Des Moines Art Centre; Crystal Bridges Museum of American Art; Witte de With Centre for Contemporary Art; the Musée d’art contemporain de Rochechouart, France; the Musée d’Art Contemporain du Val-de-Marne, France; Maison Rouge, Paris; and the Palais de Tokyo, Paris. Monkman’s second nationally touring solo exhibition, Shame and Prejudice: A Story of Resilience, will visit nine museums across Canada until 2020. In 2019, Kent accepted a commission from the Metropolitan Museum of Art in New York City to produce two large-scale works to hang in the museum’s Great Hall.

Monkman’s award-winning short film and video works have been screened at various international festivals including the 2007 and 2008 Berlinale and the 2007 and 2015 Toronto International Film Festival. Many of his media works are made with his longtime collaborator, Gisèle Gordon. Monkman has been awarded the Indspire Award (2014), the Hnatyshyn Foundation Visual Arts Award (2014), the Bonham Centre Award (2017), an honorary doctorate degree from OCAD University (2017), and the Premier’s Award for Excellence in the Arts (2017).

- Kent Monkman's page on the PFOAC website
- Kent Monkman's website
- Click here to download the Kent Monkman's recent C.V.


ED PIEN
landscape landscape landscape
Ed Pien
Sea Dogs 1
2012
Ink on paper
42 cm x 29,7 cm (16” x 11.25”)
Ed Pien
Sea Dogs 4
2012
Ink on paper
42 cm x 29.7 cm (16” x 11.25”)
Ed Pien
Sea Dogs 5
2012
Ink on paper
42 cm x 29.7 cm (16” x 11,25”)


landscape landscape
Ed Pien The Living Sea
2014
Ink on paper
127 cm x 121.9 cm (50” x 48”)
Ed Pien
Beast
2018
Ink and flashe on paper
111.8 cm x 151.1 cm (44" x 59.5")


Through my work I celebrate diversity and attempt to champion those who have less autonomy and agency, this includes entities such as trees and water. What matters to me is how as individuals, we can negotiate and act in the world in empathetic, respectful and responsible ways.

- Ed Pien

Living Sea and Sea Dogs

"On November 5th 2012, Pat Feheley, Pamela Meredith, Johannes Zits and I flew from Toronto to Ottawa, then Iqualuit and further north until we touched down in Cape Dorset....

On the Sea Dogs series. While negotiating the rocky and half-frozen shoreline, I recalled Jimmy Manning once telling me how grown-ups warn youngsters to stay away from the edge flow or else sea dogs would grab and pull them into the water. I imagined the existence of such creatures and their eyes all trained on me as I ventured so dangerously close to the open body of freezing dark water."

Beast

Ed Pien is inspired by the myths and traditions of both West and East. Over nearly three decades, he has created a rich œuvre whose themes provoke moral and political reflection in viewers. Emerging out of a spontaneous process, his drawings are rooted in Pien’s study of historical representations of Hell and their relation to depictions of human atrocities and the violence of war.

This work was featured of his solo exhibition at La Poste in 2018 and reproduced in the major accompanying catalogue published Éditions de Mévius.

– Ed Pien

--

Ed Pien is a multidisciplinary artist based in Toronto. Pien has exhibited nationally and internationally including the National Gallery of Canada, Ottawa; the Drawing Centre, New York; Museum of Art and Design, New York; Centro Nacional é las Artes, Mexico City; the Goethe Institute, Berlin; Middlesbrough Art Gallery, UK; W139, Amsterdam; Contemporary Art Gallery, Vancouver; The Contemporary Art Museum in Monterrey, Mexico; Bluecoat, Liverpool; Art Gallery of Ontario, Toronto and La Biennale de Montreal 2000 and 2002 and recently at the Moscow Bienale (2013), Sydney Biennale (2012) and in the Oh Canada exhibition at MassMoca. His ambitious large-scale installations, drawings and paper cuts are featured in the permanent collections of many Canadian museums including the Art Gallery of Ontario, the Montreal Museum of Fine Arts and the National Gallery of Canada, Ottawa. His work was featured in the Canadian Biennale of the National Gallery of Canada in 2011 and 2015.  He had a major solo exhibition at La Poste in Montreal in 2018 and will be presenting a solo installation at the AGO in the Summer of 2020.

- Ed Pien's website
- Ed Pien's page on the PFOAC website
- Click here to download the artist's recent C.V.


CHIH-CHIEN WANG
landscape
Chih-Chien Wang
What You Found Only Exists in Another World: Iceberg
2018
inkjet print
152.4 cm x 101.6 cm (60” x 40”)
Ed. 5


“What You Found Only Exists in Another World” subtly transcends the viewer with the sensation of having no tongue—where the familiar becomes unsayable, unfathomable, unknown, a wordless world rich with visual phantasm. Early 20th century modernism's epitaph is perhaps its possibility to mouth the unseen, to encapsulate without afore-learned language, another world. Chih-Chien Wang’s recent photographic essai emphasizes modernism's alterity whilst cutting the stoicism of its historical regulation and categorization. And yet, the works precisely chosen and collected do not attempt to challenge or circumvent language, they simply ask (or demand) the viewer to see, to inhabit our so-called position. A strategic crop truncates snow into aerial distance reportage and a naturalistic sublime, a freshly cut cabbage extends beyond a countertop surface to muster all the resplendence of a melting ice cap, an orange is galvanized into a small heart, and a bushel of grapes, picked, eaten and then exhibited as a specimen of a small tree complete with a hand-cut paper horizon line, seize our attention from the mundane to the spectacular, from seeing nothing to seeing climaxes in performance and spectatorship within the seemingly futile. We are never fooled by the objects, they remain as they are. Their implicit duality with otherworldliness is made complicit and conspicuous. It is this specific space of performativity, where the actor (the artist) acts as both producer, director and cinematographer, nudging (ever so slightly), where Wang's work transforms quotidian acts into a form of intricate performance—swallowing, cutting and walking perform coyly and question the viewer’s search for shrewd enjoyment and extravagant consumption. Spectatorship behooves a reminder of the human body: shrewd and selfish eyeballs and the ability to also produce works of mega Hollywood level spectatorship (hands, legs, muscle and minds), the geological and earth-worn specimens presented by Wang draw our attention to the rolling ball beneath our feet, mocking insistence on ego-centrality, naming, buying, saving, selling, using and toiling, in the same way the images themselves underscore the beauty of uselessness."

- Margaret Haines

Born in Taiwan, Chih-Chien Wang lives and works in Montréal. He obtained a MFA in Studio Arts from Concordia University in 2006 having previously completed a BFA in Theatre and Cinema from the Chinese Culture University in Taipei in 1994. Canadian and International museums and artist-run centres have exhibited his work, including the Montreal Museum of Fine Arts (solo, 2013), the National Gallery of Canada (for the Canadian Biennale "It is what is"), Optica, Dazibao, the Musée d'art contemporain de Montréal (for the Québec Triennial in 2008), the 5th edition of Orange in Ste-Hyacinthe, at Gallery 44 and Nuit Blanche in Toronto, at Zenith Gallery in Beijing and at the Musée de l'Élysée in Switzerland.

His works figure prominently in several public collections including the National Gallery of Canada, Musée de l'Elysée in Lausanne, Musée national des beaux-arts du Québec, Musée d'art contemporain de Montréal, Montreal Museum of Fine Arts - and in corporate and private collections such as Hydro Quebec, Royal Bank of Canada, TD Bank Group, Fédération des Caisses Desjardins, Banque nationale, Giverny Capital and Caisse de dépôt et placement.

- Chih-Chien Wang's page on the PFOAC website
- Chih-Chien Wang's website
- Click here to download the Chih-Chien Wang's recent C.V.

_______
contact