- January 11, 2008 to February 16, 2008
The works in this exhibition reflect Harold Coego's rediscovery of himself as a visual artist after a long engagement in the worlds of stage and screen. This series of drawings and collage-derived monetary currency bridges the artist's two home countries-Cuba, where historical and cultural heroes (perfect human beings trapped in their own historical circumstances) surrounded him, and Canada where new characters and new human interactions shape a different life. Most of the currency "characters" came to the artist in a "pure" way, as a child growing up in Cuba. Now, thirty years later, Coego gives those characters the chance to break through their own historical frame and wander free in an abstract world of ink and irony where they have become a commodity. The resulting images are representations of the artist's imagination through an abstract cinematographic kaleidoscope-a twisted photocopy of reality, or perhaps more like a dream where something is always out of place
By Harold Coego
medium | 28 ProgramsMedium Drawing
A picture or image made with a pen, pencil, crayon, or similar media rather than with paint.
- June 18, 2004 to July 30, 2004
This series of recent drawings, mostly completed within the last year, show Yuxweluptun's continuing engagement with the medium. His drawings are labour intensive, showing the extreme, rich detail achieved with a crosshatch technique. They provide an interesting counterpoint to his larger paintings and often serve as studies for later works, where the images are developed and refined. Here we see Yuxweluptun at his loosest, most playful, and most experimental. The subject matter in these drawings runs the gamut of Yuxweluptun's interests: satirical and biting but also spiritual and aesthetic.
By Lawrence Paul Yuxweluptun
- July 11, 2003 to August 2, 2003
Works on paper including found images, photos and drawings from Occupied Palestine. The International Solidarity Movement is a Palestinian-led movement of Palestinian and International activists who utilize nonviolent direct action to support the Palestinian struggle for freedom and an end to Israeli occupation. Carel Moiseiwitch produced these new works while in Palestine with ISM in February and March 2003.
By Carel Moiseiwitsch
- Curated by Glenn Alteen
- October 4, 2002 to October 26, 2002
The human nude, central to Clement's work, is reinterpreted through numerous small drawings. The drawings are gathered into long strips and folded into large accordion shapes which are hung nearly to ceiling height. Created with mixed techniques and media, and done primarily in luminous blues, the resulting installation generates an impression of movement and enclosure within a sequence of instantaneous emotion.
By Jacques Clement
- April 6, 2001 to April 28, 2001
The exhibition featured a selection of small drawings, some framed, and making use of unconventional materials such as correction fluid and felt-tipped markers. Also exhibited were one or two large charcoal drawings, inspired by commonplace natural material such as sticks and twigs, and two large wire sculptures. Arranged on an eye level shelf were twenty-eight bottles of teeth.
By Sachi Yamabe
- November 14, 1989 to November 25, 1989
Autobiographical drawings can be a powerful tool for self-discovery and resolution. In Margaret Atwood's recent novel, Cat's Eye, painter Elaine Risley returns to Toronto after several years in Vancouver for a retrospective of her work. In the process of installing and previewing the show the artist is confronted with the ghosts of her past and cones to an understanding of its tyrannies.
In a similar way Gail Carney's work on paper uses personal symbolism and allegory to evoke both conscious and unconscious dilemmas. Her personal vocabulary of symbols is not, however, self-absorbed and preoccupied but offers us images that luminously evoke common concerns. (For full curatorial statement see exhibition catalogue attached below)
By Gail Carney
- Curated by Carol Denny, Donna Hagerman