Click to enlarge image.The house without orifices is hardly a house at all. 2014. Ink on paper. 7.5 x 10.25 in.

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“Keepsakes”

Click to enlarge image.

I have an image-text pairing in “Keepsakes”, an exhibition opening on August 16, 2014 in Toronto, Canada:

“Keepsakes” is part exhibition and part art-trade. Twenty-seven artists from Canada and abroad have each contributed a small artwork representing themselves and their practice to be displayed at bric-à-brac studio. At the conclusion of the show, the pieces will be randomly distributed back into the hands of a fellow participant. Each artwork is a gift from one stranger to another, a token sent as a delegate in a yet unknown land. The aim of this project is to create a platform where emerging artists from near and far distances alike can establish lasting connections with each other in a meaningful way.

Reception: Aug 16th, 7-11pm

Show runs: Aug 16th – 30th

Outside of the opening, bric-à-brac studio is available for viewing by appointment. Email bric-a-brac@nadinemaher.com to arrange.

Participants:

Paul Antony Carr (Vancouver)
Paul Chartrand (Dunville, ON)
Evelyn Clarke (Vancouver)
Ursula Bero (Ottawa)
Chelsea Brant (Guelph, ON)
Kiana Browne (Toronto)
Amanda Busby (Brampton, ON)
Gianfranco Bozzo (Guelph, ON)
Cheryl Carpenter (Vancouver)
Anais DiCroce (Washington, DC)
Grace Eakins (Vancouver)
Denise Gasser (Vancouver)
Jessie Jakumeit (Toronto)
Alison Keenan (Vancouver)
Julianne Kozak (Vancouver)
Penny Leong Browne (Vancouver)
Melissa Luk (Toronto)
Alvin Luong (Toronto)
Tara MacDougall (Halifax)
Cassandra McBride (Toronto)
Ella McGeough (Toronto)
Sasha Odesse (Guelph, ON)
Louise Reimer (Toronto)
River Roy (Guelph, ON)
Nicole E. Schlosser (Halifax)
Amanda Shirlow (Northern Ireland)
Karin Vengshoel (Vancouver)

Organized by Nadine Maher

~

bric-à-brac studio is sometimes a gallery, often a studio, and always the home of two emerging Toronto artists.

http://bric-a-brac-studio.tumblr.com/

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“This coiled element, oversized beneath the percolator, was an even, rich and deep, yet barely luminous, red. This had the look of silent, uncompromising rage. This terrified me.”

2014. Ink on paper. Installation view, bric-à-brac studio, Toronoto, Canada. Photo by Nadine Maher.

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Click to enlarge imageThe house without orifices. 2014. Ink on paper. 10.25 x 7.5 in.

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On Oversized Beneath the Percolator, 2014/7/17

The words do not directly describe the picture, nor does the picture strictly illustrate the words; what instead occurs is a comparative examination of ways in which a set of ideas can be conveyed simultaneously through fictive construction and diagrammatic process. Writing and drawing are here considered analogous operations, both of which actively grope toward formulation and definition in their final refinement.

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“This coiled element, oversized beneath the percolator, was an even, rich and deep, yet barely luminous, red. This had the look of silent, uncompromising rage. This terrified me.”

2014. Ink on paper. 4 x 2 in.

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SCIENCE FAIR

Click to enlarge image.Music by Sinoia Caves, Von Bingen, and Kensington Gore live in the HR MacMillan Space Centre‘s planetarium; with an art show and science fair downstairs. Thursday, July 10, 2014 from 7:30pm-11:00pm.

I’ll have some drawings in the SCIENCE FAIR.

UPDATE: Art show is free, and exhibits in the lower lobby are on show until the end of July. Tickets to see the bands in the planetarium are $15 in advance, or $20 at the door. On sale through Eventbrite, and at Zulu Records, Neptune Records, and They Live Video.

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Art Waste Group Show

Click to enlarge image.I’m going to have some drawings in the Art Waste Group Show at Gallery Gachet in Vancouver, Canada. Opening reception is June 5, 2014 at 7pm. The show will be on view until Sunday, June 8. Gallery Gachet is at 88 East Cordova Street, Vancouver, BC  V6A 1K3.

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Click to enlarge image.The house without orifices. 2014. Ink on paper. 10 x 7.5 in.

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Statement, 2014/05/26

Lives and works in Vancouver, Canada. Primarily interested in the following: a) Visual and textual lines; b) the antiseptic tempered by a quiver of the handmade; and c) the diagrammatic and/or explanatory, especially when cloaked in ostensible self-importance without necessarily being true, serious business. Adherence to stringent procedural methods allows for an iterative exploration of the above concepts ad infinitum.

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