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Past exhibitions 2015

City of Ottawa Art Collection – This Is Us Now

Additions to the City of Ottawa Art Collection

“Art and culture are not casual luxuries of existence; they are the very essence of civilized life. Art is most often a record of things seen profoundly, known concretely, and done imaginatively and completely.” ~ Pat Durr and Jane Pane, Proposals for Development of Art and Culture in the Ottawa-Carleton Region, September 1980.

To celebrate the 30th anniversary of the Public Art Program, this exhibition presents a selection of artworks that entered the City of Ottawa Art Collection in 2014 and 2015 through commission, donation and purchase. This Is Us Now includes a selection of works from two significant donations received by the City of Ottawa in 2015 from the Canada Council for the Arts and the Estate of Ann Darbyshire.

In appreciation of the artists in our communities, This Is Us Now will be featured in three spaces across the city. Visit the gallery nearest you or take in all three!

Exhibition dates and locations

Trinity Art Gallery | Shenkman Arts Centre
November 28, 2015 to January 4, 2016
Reception: Sunday, November 29, 1 to 3 p.m.

Atrium Gallery | Ben Franklin Place
December 1st, 2015 to January 5, 2016
Reception: Tuesday, December 1st, 6 to 8 p.m.

Karsh-Masson Gallery | City Hall
December 10, 2015 to January 17, 2016
Reception: Thursday, December 17, 5:30 to 7:30 p.m.
Opening remarks by Mayor Watson

List of artworks added in 2014 and 2015

A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

Donation from the Canada Council for the Arts

All images are details. Asterisk (*) indicates artwork pictured

A

Details of a selection of listed artworks.

*Barry Ace, Kitchi Zibi Omàmìwininì and Samuel de Champlain (Nepean Point), 2013, glass beads on hide, cotton rope, porcupine quills and rooster feathers, 44 x 33 cm (each), 2014-0004

Barry Ace, Intersection, 2014, photo-transfer, acrylic, porcupine quills and glass beads on paper, 76 x 56 cm, 2014-0005

*Melanie Authier, Meander reprise, 2015, watercolour and ink on paper, 41 x 31 cm, 2015-0004

*Derek Aylen, Champlain, no date, woodcut on paper, 61 x 91 cm, 2014-0098, gift of Janet Evans and Paul Wright

Derek Aylen, Philemon Wright 1800, no date, woodcut on paper, 61 x 91 cm, 2014-0098, gift of Janet Evans and Paul Wright

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B

Details of a selection of listed artworks.

*Maureen Ballagh, vessel 1, 2014, silk, cotton and beeswax, 30 x 32 x 22 cm, 2014-0006

Maureen Ballagh, disk, 2013, nettle, grass and beeswax, 70 x 70 x 11 cm, 2014-0007

*Jessica Bell, Traffic 11, 2013, mixed media on paper, 76 x 56 cm, 2015-0005

*Karina Bergmans, Gallbladder Stones, 2013, mixed media, 134 x 61 x 46 cm, 2014-0008

Glenn Bloodworth, Old Equipment & Storage Garages, 2013, digital print on paper, 76 x 91 cm, 2014-0009

*Glenn Bloodworth, Old Basketball & Tennis Courts, Former CFS Foymount, 2014, digital print on paper, 76 x 91 cm, 2014-0010

*Bhat Boy, The Spirit of OC Transpo, 2015, acrylic on canvas, 2015-0001, commissioned for 1500 St. Laurent Boulevard OC Transpo Administration Building

*Brian Burnett, Hanlans, 1984, acrylic on canvas, 229 x 305 cm, 2014-0104, gift of Lori Loeb Taller and Marvin Taller

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C

Details of a selection of listed artworks.

*Réal Calder, The Atlantic Series – Muddy Shore, 2012, oil on panel, 76 x 61 cm, 2014-0011

Kay Campbell, Spring River, Hog’s Back, Ottawa, Ontario, 1963, oil on board, 57 x 71 cm, 2015-0065, gift of Audrey Thibault in memory of her husband, Joseph E. Thibault

*Kay Campbell, Prelude to Winter – Road to Almonte, 1963, oil on board, 71 x 88 cm, 2015-0066, gift of Audrey Thibault in memory of her husband, Joseph E. Thibault

*Bertrand Carrière, Près de Krasnodar, Russie, octobre 2012, 2012, digital print on paper, 61 x 76 cm, 2015-0006

*Véronique Chagnon-Côté, Feu, 2012, acrylic on canvas, 168 x 283 cm, 2014-0003, gift of Mark Leibner

Lisa Creskey, Hydra, 2013, ceramic, 60 x 45 x 10 cm, 2014-0012

*Lisa Creskey, This Is Us Now, 2014, ceramic and horse hair, 35 x 50 x 25 cm, 2014-0013

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D

Details of a selection of listed artworks.

*Ann Darbyshire (1926 - 2007), 117 works on paper, various dates, 2015-0186 to 2015-0302, gift of the Estate of Ann Darbyshire

*Shayne Dark, Erratic Field, 2015, Cor-ten steel, 2015-0003, commissioned for the Trim Road Widening and Realignment project

*Saman Deilamani, Untitled 3, 2014, digital print on paper, 51 x 71 cm, 2014-0014

*Tim desClouds, Sit for a While, In the Garden, and Watch the Parade, 2014, powder-coated steel, 2014-0122, commissioned for McNabb Park

Jim des Rivières, Virgin Tiger Moth (Grammia Virgo), 2007, digital print on paper, 61 x 91 cm, 2014-0015

*Jim des Rivières, Virginian Tiger Moth (Spilomsoma Virginica), 2007, digital print on paper, 61 x 91 cm, 2014-0016

Jim des Rivières, Polyphemus Moth (Antheraea polyphemus), 2005, digital print on paper, 61 x 91 cm, 2014-0017

*Jennifer Dickson, Be-ing, 1974, hand-tinted photo etching, 61 x 91 cm, 2014-0101, gift of Janet Evans and Paul Wright

*Jennifer Dickson, The Sorceress, no date, etching on paper, 46 x 34 cm, 2015-0304, gift of the Estate of Ann Darbyshire

*Colin Muir Dorward, Prairies Powerlines, 2013, watercolour on paper, 56 x 76 cm, 2014-0018

Colin Muir Doorward, Mealtime, 2012, oil on canvas, 214 x 214 cm, 2015-0007

Colin Muir Doorward, Marjory, 2014, oil on canvas, 137 x 117 cm, 2015-0008

Maura Doyle, Pink Tshirt Barricade, 2008, gouache, pencil and ink on paper, 28 x 36 cm, 2015-0009

Maura Doyle, Mapped beaver pond, Gatineau, Que, 2008, gouache, pencil and ink on paper, 64 x 97 cm,2015-0010

*Maura Doyle, mons pubis, 2014, ceramic, 46 x 23 x 23 cm, 2015-0011

*Josée Dubeau, Poussières, 2015, oil on paper, 56 x 76 cm, 2015-0012

Annie Dunning, Foolproof Four poster (balloons), 2011, digital print on paper, 120 x 90 cm, 2015-0013

Annie Dunning, Foolproof Four poster (broadcast balloons), 2011, digital print on paper, 120 x 90 cm, 2015-0014

*Annie Dunning, Foolproof Four poster (robot balloons), 2011, digital print on paper, 120 x 90 cm, 2015-0015

Annie Dunning, Foolproof Four poster (thought balloons), 2011, digital print on paper, 120 x 90 cm, 2015-0016

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E

Details of a selection of listed artworks.

*Magida El-Kassis, Maysa (diptych), 2014, digital prints on paper, 20 x 30 cm, 2014-0019

*Vera Elnitskaya, 14 untitled paintings, 1993, 2014-0106 to 2014-0119, gift of the artist

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F

Details of a selection of listed artworks.

Rosalie Favell, Barry Ace, Ottawa, ON, 2009 from the series Facing the Camera, 2009, digital print on paper, 51 x 41 cm, 2014-0020, gift of the artist

Rosalie Favell, Bear Witness, Ottawa, ON, 2009 from the series Facing the Camera, 2009, digital print on paper, 51 x 41 cm, 2014-0021, gift of the artist

*Rosalie Favell, Ariel Smith, Ottawa, ON, 2010 from the series Facing the Camera, 2010, digital print on paper, 51 x 41 cm, 2014-0022, gift of the artist

Rosalie Favell, Frank Shebagaget, Banff, AB 2008 from the series Facing the Camera , 2008, digital print on paper, 51 x 41 cm, 2014-0023, gift of the artist

Rosalie Favell, Jeff Thomas, Ottawa, ON 2009 from the series Facing the Camera, 2009, digital print on paper, 51 x 41 cm, 2014-0024, gift of the artist

Rosalie Favell, Leo Yerxa, Ottawa, ON 2012 from the series Facing the Camera, 2012, digital print on paper, 51 x 41 cm, 2014-0025, gift of the artist

Rosalie Favell, Rosalie Favell, Banff AB 2008 from the series Facing the Camera, 2008, digital print on paper, 51 x 41 cm, 2014-0026, gift of the artist

*Susan Feindel, Perforated Map #4 World Map Gore, 2008, India ink on pierced paper, 57 x 76 cm, 2014-0027

*Tony Fouhse, Memorial, 2014, digital print on paper, 56 x 70 cm, 2015-0017

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G

Details of a selection of listed artworks.

*Marc Gagne, Untitled, 2013, mixed media on panel, 61 x 46 cm, 2014-0028

Martin Golland, Greenhouse, 2013, oil on canvas, 18 x 23 cm, 2014-0029

*Martin Golland, Obélisque, 2013, oil on Mylar, 61 x 46 cm, 2014-0030

*Adrian Göllner, Vase with Sound of Summer Rain, 2013, ceramic, 45 x 19 x 19 cm, 2014-0031

*Abigail Gossage, Victory Home 1 to 9, 2013, digital prints on paper, 31 x 31 cm (each), 2014-0032

Abigail Gossage, Victory Home 10 to 18, 2013, digital prints on paper, 31 x 31 cm (each), 2015-0018 to 2015-0026

John Graham, Entertaining Doubts, 2005, etching on paper, 23 x 23 cm, 2014-0033

*John Graham, Anima Amica, 2009, woodcut on paper, 100 x 75 cm, 2014-0034

*Jerry Grey, Tanay, 2005, acrylic on canvas, 30 x 30 cm, 2014-0001, gift of Doug Ward

*Christopher Griffin, Blanding’s Turtles of the South March Highlands, 2014, concrete, 2014-0103, commissioned for the Ottawa Public Library Beaverbrook Branch

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H

Details of a selection of listed artworks.

*Petra Halkes, Experimental Farm Greenhouse, 2011, oil on canvas, 119 x 71 cm, 2014-0035

*Michael Harrington, Red Chair, 2012, oil on canvas, 25 x 20 cm, 2014-0036

Michael Harrington, Long Motel, 2007, oil on canvas, 51 x 244 cm, 2014-0037

*Stephen Hutchings, Bush, Reflection and Bridge, 2008, oil and charcoal on canvas, 91 x 91 cm, 2014-0038

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I

Details of a selection of listed artworks.

*John Ikeda, 3 Tiles, 2013, ceramic, 110 x 36 x 3 cm, 2014-0039

John Ikeda, 3 Tiles, 2013, ceramic, 110 x 36 x 3 cm, 2014-0040

*Naz Ikramullah, The intersection of timeless moments, 1983, etching on paper, 62 x 57 cm, 2015-0303, gift of the Estate of Ann Darbyshire 

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J

Details of a selection of listed artworks.

*Geoffrey James, The King at Quyon, 2013, digital print on paper, 36 x 53 cm, 2015-0027

Geoffrey James, Boatyard and Lake Steamer, Kingston, 2013, digital print on paper, 36 x 53 cm, 2015-0028

Olivia Johnston, Susanna (Katelin) (diptych), 2013, digital prints on paper, 41 x 51 cm, 2014-0041

Olivia Johnston, Lot’s Daughters (Clara and Emma) (diptych), 2013, digital prints on paper, 41 x 51 cm, 2014-0042

*Olivia Johnson, Detritus (cosmetic pads), 2015, digital prints on paper, variable dimensions, 2015-0029

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K

Details of a selection of listed artworks.

*David Kaarsemaker, Porch, 2014, oil and charcoal on canvas, 51 x 51 cm, 2014-0043

David Kaarsemaker, Airport Hotel, 2014, oil and charcoal on canvas, 41 x 51 cm, 2014-0044

*Freeman Keats, livestock 1, 2013, digital print on paper, 83 x 107 cm, 2014-0045

Freeman Keats, livestock 4, 2013, digital print on paper, 83 x 107 cm, 2014-0046

Freeman Keats, livestock 8, 2013, digital print on paper, 71 x 109 cm, 2014-0047

*Stuart Kinmond, locomOtion, 2015, aluminum, reflective sheeting and stainless steel, 2015-0184, commissioned for the O-Train Expansion project

*Marcus Kucey-Jones, Gauntlet, 2012, limestone, 2014-0102, commissioned for Richcraft Recreation Complex Sculpture Park, gift of Taggart Parkes Foundation

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L

Details of a selection of listed artworks.

*Patrick Lacasse and Alisdair MacRae, Optical Theremin, 2013, wood and electronic components, 19 x 55 x 7 cm, 2014-0066

*Sébastien Lafleur, Périphéria, 2014, mixed media, 79 x 91 cm, 2014-0048

Jennifer Lefort, Converging Signs (Yellow and Pink), 2014, oil on Mylar, 61 x 76 cm, 2014-0049

*Jennifer Lefort, Converging Signs (Black and White), 2014, oil on Mylar, 61 x 92 cm, 2014-0050

Whitney Lewis-Smith, What came in with the flowers, 2014, digital print on paper, 140 x 112 cm,2015-0030

*Whitney Lewis-Smith, Death of the moth, 2014, digital print on paper, 140 x 112 cm, 2015-0031

*Gavin Lynch, Lake of the Woods, 2014, oil on canvas, 76 x 102 cm, 2014-0051

Gavin Lynch, Dad, Circa 1984, 2011, oil on canvas, 51 x 41 cm, 2014-0052

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M

Details of a selection of listed artworks.

*Andrzej Maciejewski, Weather Report number 20, 2003, digital print on paper, 76 x 61 cm, 2014-0053

Andrzej Maciejewski, Weather Report number 30, 2003, digital print on paper, 76 x 61 cm, 2014-0054

Andrzej Maciejewski, Weather Report number 37, 2004, digital print on paper, 76 x 61 cm, 2014-0055

Ramses Madina, Interior No. 12, 2013, digital print on paper, 66 x 102 cm, 2014-0056

*Ramses Madina, Interior No. 19, 2013, digital print on paper, 66 x 102 cm, 2014-0057

Ramses Madina, Arctic No. 98, 2014, digital print on paper, 60 x 102 cm, 2015-0032

Ramses Madina, Interior No. 20, 2014, digital print on paper, 60 x 102 cm, 2015-0033

Ramses Madina, Interior No. 71, 2014, digital print on paper, 60 x 102 cm, 2015-0034

Ramses Madina, Interior No. 4, 2014, digital print on paper, 60 x 102 cm, 2015-0035

Ramses Madina, Interior No. 29, 2014, digital print on paper, 60 x 102 cm, 2015-0036

Deborah Margo, Branch, 2015, wool, thread and paint on paper, 23 x 15 cm, 2015-0037

*Deborah Margo, Schmata #1, 2015, wool, thread, paint and pencil on paper, 23 x 15 cm, 2015-0038

Deborah Margo, Schmata #3, 2015, wool, thread and paint on paper, 23 x 15 cm, 2015-0039

*Mark Marsters (1962 – 2002), Craze (Wurm Gallery), 1999, silkscreen on paper, 61 x 46 cm, 2014-0096, gift of Janet Evans and Paul Wright

Mark Marsters (1962 – 2002), Salmon Arm, 1994, watercolour on paper, 21 x 30 cm, 2014-0097, gift of Janet Evans and Paul Wright

Natasha Mazurka, Phylogenic II, 2014, embossed parchment paper, 32 x 20 cm, 2014-0058

Natasha Mazurka, Phylogenic III, 2014, embossed parchment paper, 32 x 20 cm, 2014-0059

*Natasha Mazurka, Index V, 2014, embossed parchment paper, 42 x 30 cm, 2015-0040

*Reid McLachlan, Keyhole Patina, 2013, graphite on paper, 56 x 49 cm, 2014-0060

*Meryl McMaster, Ancestral 10, 2008, digital print on paper, 102 x 76 cm, 2014-0061

*Paula Murray, Tondo #3, 2014, ceramic, 91 x 91 x 10 cm, 2014-0062

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N

Details of a selection of listed artworks.

*Erik Nieminen, Character 1, 2013, graphite on paper, 59 x 33 cm, 2014-0063

Erik Nieminen, Character 3, 2013, graphite on paper, 59 x 33 cm, 2014-0064

*Christine Nobel, Arizona, 2014, oil on panel, 76 x 183 cm, 2014-0065

*Patti Normand and Lesley Buxton, You Were Bad, 2014, mixed media, variable dimensions, 2014-0067

Patti Normand and Lesley Buxton, Gone, 2014, mixed media, variable dimensions, 2014-0068

Patti Normand and Lesley Buxton, Trailer, 2014, mixed media, variable dimensions, 2014-0069

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O

Details of a selection of listed artworks.

*Andrew O’Malley, Community Channel, 2014, LED and acrylic panels, 2014-0105, commissioned for the Bronson Centre

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P

Details of a selection of listed artworks.

*Danielle Potvin, Promenade du Portage, 2013, wool, 43 x 39 cm, 2014-0070

Danielle Potvin, Vieux Hull 2025, 2013, wool, 37 x 26 cm, 2014-0071

*Art Price (1918 – 2008), Untitled (Roller Rink Woman), 1979, ink and watercolour on paper, 91 x 91 cm, 2014-0100, gift of Janet Evans and Paul Wright

Michèle Provost, The New Yorker, September 24, 2001, 2008, cotton thread on canvas, 56 x 49 cm, 2014-0072

*Michèle Provost, Sports Illustrated, May 1970, 2008, cotton thread on canvas, 56 x 49 cm, 2014-0073

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R

Details of a selection of listed artworks.

Bozica Radjenovic, Pieta 3, 2013, digital print on paper, 94 x 61 cm, 2014-0074

*Bozica Radjenovic, Pieta 1, 2013, digital print on paper, 94 x 61 cm, 2014-0075

*Ren Hui, Bird on Post, 2012, woodcut, 42 x 62 cm, 2014-0076

*Uta Riccius, Plate VIe Various species of Periphylla (jelly fishes), 2014, digital print on paper, 38 x 32 cm, 2015-0041

Uta Riccius, Plate IX various species of Semaesostomeae, 2014, digital print on paper, 48 x 32 cm, 2015-0042

Uta Riccius, Map nest Package deals, 2014, digital print on paper, 90 x 70 cm, 2015-0043

Uta Riccius, Plate VIII various species of Rhizostomaeae, 2014, digital print on paper, 48 x 32 cm, 2015-0044

*Herman Ruhland, Untitled (set of three), 2014, painted wood, variable dimensions, 2015-0045

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S

Details of a selection of listed artworks.

*Eliane Saheurs, Enchanted Space III, 2013, acrylic on canvas, 130 x 165 cm, 2014-0077

*Michael Schreier, Untitled, 2014, digital print on paper, 38 x 51 cm, 2014-0078

Peter Shmelzer, the sentient, 2005, oil on panel, 36 x 31 cm, 2015-0046

*Peter Shmelzer, Grumpy Cat, 2015, oil on paper, 89 x 56 cm, 2015-0047

*Sanjeev Sivarulrasa, Cygnus Nebulae, 2012, photograph on aluminum, 91 x 91 cm, 2014-0079

Richard Skrobecki, Pulse, 2013, ceramic, 37 x 17 x 17 cm, 2015-0048

*Richard Skrobecki, Intersections, 2014, ceramic, 59 x 15 x 15 cm, 2015-0049

Richard Skrobecki, Wavelength, 2014, ceramic, 57 x 16 x 16 cm, 2015-0050

Richard Skrobecki, Code, 2014, ceramic, 58 x 16 x 16 cm, 2015-0051

Ryan Smeeton, From the Produce Aisle, 2013, acrylic and oil on canvas, 102 x 81 cm, 2014-0080

*Ryan Smeeton, Leftover Valentines, 2013, acrylic and oil on canvas, 81 x 66 cm, 2014-0081

*Gerald Smith, Portrait of John Mlacak, 2003, oil on canvas, 168 x 122 cm, 2014-0121, gift of Kirsten Mlacak and Yvan Delisle

*Jennifer Stead, Short Story, 2015, steel, 2015-0183, commissioned for the Churchill Avenue Rehabilitation project 

Cindy Stelmackowich, SLICED, 2013, test tubes, anatomical transparencies, stainless steel and Plexiglas, 76 x 51 cm, 2014-0082

Cindy Stelmackowich, Books and Bone, 2015, paper, glass and porcelain, 8 x 17 x 17 cm, 2015-0052

*Cindy Stelmackowich, Fat and Flesh, Muscular, 2015, paper and glass, variable dimensions, 2015-0053

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T

Details of a selection of listed artworks.

*Norman Takeuchi, After the Bath, 2013, acrylic on canvas, 102 x 152 cm, 2014-0083

Norman Takeuchi, Slinger, 2014, conte, charcoal and graphite on paper, 77 x 114 cm, 2015-0054

Naiko Tcherno-Ivanenko, Back as an Insect, 2013, oil on canvas, 61 x 61 cm, 2014-0084

Naiko Tcherno-Ivanenko, Fantasy Ball, 2012, oil on canvas, 165 x 145 cm, 2014-0085

*Naiko Tcherno-Ivanenko, Prince, 2012, oil on canvas, 122 x 91 cm, 2014-0086

*Jeff Thomas, Plate 736 Return the Gaze, Emily General and Two Zuni Girls, 2014, digital print on paper, 51 x 102 cm, 2015-0055

Jeff Thomas, Plate 739 My Father was a Factory Maintenance Painter, 2013, digital print on paper, 59 x 213 cm, 2015-0056

*Mark Thompson, Cube, Lattice, Sphere, Wave, 2015, glass, programmable LEDs and steel, 2015-0185, commissioned for the Rideau Street Renewal project 

*Stanzie Tooth, Seven Veils, 2014, acrylic and oil on canvas, 61 x 61 cm, 2015-0057

*Guillermo Trejo, Studies of Representation, 2011, pencil, carbon paper transfer and gouache on paper, variable dimensions, 2015-0058

*Gerald Trottier, Portrait of John A. MacDonald, 1974, graphite, charcoal and watercolour on card, 29 x 25 cm, 2014-0120, gift of Marc Trottier

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V

Details of a selection of listed artworks.

Christopher Varady-Szabo, Portable landscape no.1, 2013, digital print and charcoal on paper, 89 x 120 cm, 2014-0087

*Christopher Varady-Szabo, Portable Landscape no.3, 2013, digital print and charcoal on paper, 86 x 120 cm, 2014-0088

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W

Details of a selection of listed artworks.

*Carol Wainio, What to do, 2015, acrylic on canvas, 122 x 102 cm, 2015-0059

Carol Wainio, The Way Back, 2015, acrylic on canvas, 122 x 91 cm, 2015-0060

Angela Walker, Plate #11 Apple, 2013, wax and digital print on paper, 20 x 25 cm, 2014-0089

Angela Walker, Plate #10-02 Papaya, 2013, wax and digital print on paper, 20 x 25 cm, 2014-0090

Angela Walker, Plate #17 Pomegranate, 2013, wax and digital print on paper, 20 x 25 cm, 2014-0091

*Angela Walker, Plate #8-02 Pear, 2013, wax and digital print on paper, 20 x 25 cm, 2014-0092

*Becca Wallace, Grey Stack No. 1, 2012, digital print on paper, 76 x 44 cm, 2015-0061

*Tavi Weisz, Catch it before it gets out of control, 2012, oil on canvas, 122 x 183 cm, 2014-0093

Tavi Weisz, Damn you, damn you, why did you have to do this?, 2013, oil on canvas, 122 x 244 cm, 2014-0002, gift of the artist

Justin Wonnacott, Necessary Pictures, 2012, digital print on paper, 40 x 60 cm, 2014-0094

*Justin Wonnacott, Orange Kiosk, 2014, digital print on paper, 61 x 76 cm, 2015-0062

Justin Wonnacott, Patterned Kiosk, 2005, digital print on paper, 61 x 76 cm, 2015-0063

Justin Wonnacott, Yellow Kiosk, 2011, digital print on paper, 61 x 76 cm, 2015-006

*Andrew Wright, Untitled Photograph #6 (Edge), 2013, digital print on paper, 50 x 67 cm, 2014-0095

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Y

Details of a selection of listed artists.

Daniel Young & Christian Giroux, Mr.Kurokawa, 2015, plywood, aluminum, steel, glass and phenolic resin, 2015-0002, commissioned for the Minto Recreation Complex - Barrhaven

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Donation from the Canada Council for the Arts

Details of a selection of listed artists.

Barbara McGill Balfour, Paradoxial Vision, 1986, lithograph on paper, 91 x 64 cm, 2015-0067

Richard Banks, Untitled, 1983, graphite on paper, 46 x 61 cm, 2015-0068

John Benn, Reflections in Vowles Lake, 1983, etching on paper, 52 x 74 cm, 2015-0069

*Jean-Claude Bergeron, Paradis Perdu, 1972, lithograph on paper, 28 x 28 cm, 2015-0070

Miguel Berlanga, A tort et à travers (teepee), 1985, photograph on paper, 122 x 174 cm, 2015-0071

Marion Bordier, (porc pret pour la livraison) Abattoirs, Ergué – Armel, 1984, photograph on paper, 36 x 28 cm, 2015-0072

Marion Bordier, Chapelle de Lomaria An Hent (la commode du presbytère), 1989, photograph on paper, 38 x 28 cm, 2015-0073

Marion Bordier, Lieux de travail 84, 1984, photograph on paper, 36 x 28 cm, 2015-0074

*James Boyd, Sesame, 1973, silkscreen, etching and vacuum-formed plastic, 51 x 48 cm, 2015-0075

James Boyd, 432 B, 1974, oil on wood, 4 x 184 cm, 2015-0076

Bertrand Carrière, Sans titre/Tchécoslovaquie, 1989, photograph on paper, 40 x 50 cm, 2015-0077

*Karl Ciesluk, Dragon Fish (from Reflective Fish), 1992, photograph on paper, 28 x 36 cm, 2015-0078

David Clarkson, Toronto Public Works, Drawing #5, 1985, oil pastel on paper, 115 x 89 cm, 2015-0079

David Clarkson, Magnification (No Escape), 1986, acrylic on canvas, 244 x 244 cm, 2015-0080

Claire Cloutier, l’arbre de vie, 1980, etching on paper, 56 x 46 cm, 2015-0081

Rebecca Cowan, Five-Year-Old Rescues Sister, 1994, intaglio and xerographic transfer on paper, 64 x 58 cm, 2015-0082

Rebecca Cowan, Family Formation (from Terms of Confinement), 1989, etching on paper, 32 x 22 cm, 2015-0083

Rebecca Cowan, Material Instinct (from Terms of Confinement), 1989 etching on paper, 32 x 22 cm, 2015-0084

Chris Crabtree, Stones, 1972, etching on paper, 79 x 59 cm, 2015-0085

Chris Crabtree, All Night Party, 1981, silkscreen on paper, 57 x 78 cm, 2015-0086

Chris Crabtree, This Way Up, 1980, silkscreen on paper, 68 x 92 cm, 2015-0087

Chris Crabtree, Page Game, 1980, silkscreen on paper, 63 x 52 cm, 2015-0088

Chris  Crabtree, Waves I, 1972, etching on paper, 58 x 80 cm, 2015-0089

Betty Davison, Migration, 1980, acrylic on cast paper, 20 x 15 cm, 2015-0090

Betty Davison, Nesting, 1982, acrylic on cast paper, 20 x 15 cm, 2015-0091

Betty Davison, Chipping Sparrow’s Nest, 1982, acrylic on cast paper, 20 x 15 cm, 2015-0092

Betty Davison, Paper Roses, 1974, acrylic on cast paper, 30 x 40 cm, 2015-0093

Eugenie Defayette, red snapper, 1987, etching on paper, 12 x 28 cm, 2015-0094

Jennifer Dickson, Entering Shadowed Time, 1973, silkscreen and watercolour on Plexiglas, 62 x 52 cm, 2015-0095

Jennifer Dickson, Lady Emily’s Gateway, Pusey House, 1991, hand-coloured etching on paper, 66 x 50 cm, 2015-0096

Jennifer Dickson, Strata, 1974, etching on paper, 78 x 56 cm, 2015-0097

Jennifer Dickson, The Stripping of Masks, 1976, etching on paper, 56 x 78 cm, 2015-0098

Jennifer Dickson, The Lovers ascend/descend the staircase II, 1972 etching on paper, 57 x 78 cm, 2015-0099

Jennifer Dickson, Rise, moon, above the beauty of the High Priestess, 1972, etching on paper, 78 x 56 cm, 2015-0100

Jennifer Dickson, Goats bleat: feet on porous rock, sharp: and the bruised smell of leaves, 1970, silkscreen and etching on paper, 74 x 56 cm, 2015-0101

Jennifer Dickson, Six Vedute’s of lake Mendota, 1972, etching on paper, 78 x 57 cm, 2015-0102

Jennifer Dickson, Three Mirrors to Narcissus - Death by Water: Five (Submerged), 1978, etching on paper, 80 x 58 cm, 2015-0103

Jennifer Dickson, Il Ridotto, 1972 etching on paper, 78 x 56 cm, 2015-0104

Jennifer Dickson, Dream of the Captive, 1976, etching on paper, 80 x 58 cm, 2015-0105

Jennifer Dickson, Tryptich for Life Ensnared, 1976, etching on paper, 56 x 78 cm, 2015-0106

Jennifer Dickson, Tarot for the High Priestess, 1972, etching on paper, 57 x 78 cm, 2015-0107

Jennifer Dickson, The Secret Garden, 1976, etching on paper, 56 x 79 cm, 2015-0108

Jennifer Dickson, A secret landscape of the mind, 1972, lithograph on paper, 76 x 50 cm, 2015-0109

Jennifer Dickson, Sometimes the Lotus Opens, 1972, etching on paper, 78 x 57 cm, 2015-0110

Jennifer Dickson, I am black but comely, O ye daughters of Jerusalem, 1969, etching on paper, 80 x 58 cm, 2015-0111

Jennifer Dickson, Tempo Antica: I (Venus), 1981, silkscreen on paper, 78 x 99 cm, 2015-0112

Jennifer Dickson, Tempo Antica: II (Venus), 1981, silkscreen on paper, 78 x 98 cm, 2015-0113

Jennifer Dickson, Three Mirrors to Narcissus - Death by Water: Two (Repose), 1978, etching on paper, 80 x 58 cm, 2015-0114

Jennifer Dickson, The Watcher Observed, 1976, etching on paper, 78 x 56 cm, 2015-0115

Judith Eglington, Untitled/Sans titre, 1984, photograph on paper, 40 x 150 cm, 2015-0116

Judith Eglington, Untitled #1, 1981, photograph on paper, 50 x 40 cm, 2015-0117

Judith Eglington, Untitled #3, 1981, photograph on paper, 50 x 40 cm, 2015-0118

Wendy Ennes, Rendering, 1990, oil on photograph, 50 x 70 cm, 2015-0119

*Lorraine Gilbert, Mario dans le studio, 1987, photograph on paper, 50 x 40 cm, 2015-0120

Lorraine Gilbert, Louise avec cassettes, 1987, photograph on paper, 50 x 40 cm, 2015-0121

Richard Gorman, Untitled/Sans titre, 1965, silkscreen on paper, 66 x 51 cm, 2015-0122

Lorne Greenberg, Victims of the Colonial Regime, 1988, photograph on paper, 14 x 36 cm, 2015-0123

*Lorne Greenberg, Untitled #7, 1990, photograph on paper, 20 x 25 cm, 2015-0124

Lorne Greenberg, Harvest of Revolution, 1987, photograph on paper, 14 x 36 cm, 2015-0125

Sandra Gregson, Mamma, 1994, gouache and graphite on paper, 23 x 31 cm, 2015-0126

Brian Grison, Impossible to Know, 1972, ink on paper, 40 x 29 cm, 2015-0127

Brian Grison, Cold Sea Mist, 1972, ink on paper, 40 x 29 cm, 2015-0128

Jennifer Dickson and Howard Weingarden, Grison Through the Mirror: Scarlet Tribute II - Villa Medicea della Petraia, 1985, photograph on paper, 36 x 28 cm, 2015-0129

Jennifer Dickson and Howard Weingarden, Shrouded Memories: Chiswick House, 1985, photograph on paper, 28 x 36 cm, 2015-0130

Jennifer Dickson and Howard Weingarden, Penshurst Place: Spring Rain II, 1986, photograph on paper, 36 x 28 cm, 2015-0131

Jennifer Dickson and Howard Weingarden, The Enchanted Orangerie, Weston Park, 1986, photograph on paper, 28 x 36 cm, 2015-0132

Jennifer Dickson and Howard Weingarden, Penshurst Place: Spring Rain III, 1985, photograph on paper, 28 x 36 cm, 2015-0133

Jennifer Dickson and Howard Weingarden, Penshurst Place: Spring Rain I, 1985, photograph on paper, 28 x 36 cm, 2015-0134

Jennifer Dickson and Howard Weingarden, Palladian Noon, Villa Piovene, 1985, photograph on paper, 28 x 36 cm, 2015-0135

*Jennifer Dickson and Howard Weingarden, Reflected Amphitheatre, Isola Bella, 1986, photograph on paper, 28 x 36 cm, 2015-0136

Jennifer Dickson and Howard Weingarden, Through the Mirror: Silent Procession I - Villa Medicea della Petraia, 1985, photograph on paper, 36 x 28 cm, 2015-0137

Jennifer Dickson and Howard Weingarden, The Last King's Summer House - Villa Medicea Della Petraia, 1985, photograph on paper, 36 x 28 cm, 2015-0138

Barrie Jones, Kirk Weiss – Toronto, 1988, photograph on paper, 53 x 43 cm, 2015-0139

Sharon Katz, Deep Sleep, 1992, oil on paper, 28 x 38 cm, 2015-0140

Lisa Keedwell, self-portrait no. 1, 1980, oil stick on rice paper, 39 x 36 cm, 2015-0141

Katherine Knight, Marguerite, 1992, photograph on paper, 172 x 496 cm, 2015-0142

Don McVeigh, Blue Vase, 1982, aquatint, 55 x 37 cm, 2015-0143

Richard Nigro, Of the Same Heart, 1976, etching, ribbon and lace, 56 x 75 cm, 2015-0144

Richard Nigro, Lips are for Kissing, 1977, Xerox on paper, 22 x 28 cm, 2015-0145

Richard Nigro, First Mask: Baby Face, 1976, etching on paper, 56 x 75 cm, 2015-0146

Richard Nigro, Third Mask: Smile, 1976, etching on paper, 75 x 56 cm, 2015-0147

Richard Nigro, Sweet Pricked Rose, 1977, Xerox on paper, 36 x 22 cm, 2015-0148

*Michelle Normoyle, Medallion, 1991, photographs on Plexiglas, 240 x 250 cm, 2015-0149

Michelle Normoyle, Limbus, 1993, photograph on paper, 120 x 61 cm, 2015-0150

Anne Orton, The Robe, 1986, mixed media on paper, 116 x 177 cm, 2015-0151

Denis Rousseau, Ta Ta, 1977, blueprint, acrylic on canvas, found materials, 143 x 154 cm, 2015-0152

Denis Rousseau, Phrase Moléculaire de Claire Foster, 1988, Xerox on paper, 38 x 29 cm, 2015-0153

Elizabeth Roy, Clinging to an Ideal, 1984, oil pastel and etching on paper, 99 x 59 cm, 2015-0154

Michael Schreier, Artist Residence, Winter Feb 13/79, 1979, photograph on paper, 28 x 36 cm, 2015-0155

Michael Schreier, Window Series Sept 5/79, 1979, photograph on paper, 20 x 26 cm, 2015-0156

Marc Siegner, (Home Suite) Guillaume, 1986, etching and silkscreen on paper, 43 x 65 cm, 2015-0157

Marc Siegner, (Home Suite) Bachelin, 1986, etching and silkscreen on paper, 43 x 65 cm, 2015-0158

Cheryl Simon, Prom Dress / Back, 1987, photograph on paper, 76 x 102 cm, 2015-0159

Cheryl Simon, Summer Series 3, 1987, photograph on paper, 76 x 101 cm, 2015-0160

Cheryl Simon, Summer Series 4, 1987, photograph on paper, 76 x 112 cm, 2015-0161

Cheryl Simon, She had a way with words, 1992, photograph on paper, 25 x 20 cm, 2015-0162

Cheryl Simon, Beatrice Boutelier, 1990, photograph on paper, 51 x 122 cm, 2015-0163

Cheryl Simon, Summer Series 1, 1987, photograph on paper, 76 x 112 cm, 2015-0164

Cheryl Simon, Summer Series 2, 1987, photograph on paper, 76 x 112, 2015-0165

Gregg Simpson, The Secrets of Inner Earth, 1973, paper collage, 19 x 14 cm, 2015-0166

Gregg Simpson, Pollenscape, 1975, acrylic on panel, 50 x 40 cm, 2015-0167

*Joan Sutherland, red pool, 1981, silkscreen on paper, 77 x 57 cm, 2015-0168

Lawrence Weissmann, Housefront, Ottawa, 1981, photograph on paper, 26 x 35 cm, 2015-0169

Lawrence Weissmann, Grasses in Snow, Port Hope, Ont., 1976, photograph on paper, 19 x 25 cm, 2015-0170

Lawrence Weissmann, Rideau Canal Near 5th Ave, Ottawa, Ontario, 1976, photograph on paper, 19 x 25 cm, 2015-0171

Lawrence Weissmann, untitled/sans titre, 1980, photograph on paper, 11 x 16 cm, 2015-0172

Lawrence Weissmann, Ottawa, Ontario, 1976, photograph on paper, 19 x 25 cm, 2015-0173

*Lawrence Weissmann, Spirit of the River, 1980, photograph on paper, 11 x 16 cm, 2015-0174

Lawrence Weissmann, Quarry, Cantley Quebec, 1976, photograph on paper, 19 x 25 cm, 2015-0175

Lawrence Weissmann, The Magic Tree, 1979, photograph on paper, 11 x 16 cm, 2015-0176

Justin Wonnacott, Painting in the Salon d'or, Chez Henri, Hull, 1985, photograph on paper, 28 x 36 cm, 2015-0177

*Russell Yuristy, Oh No!, 1984, woodcut on paper, 56 x 76 cm, 2015-0178

Russell Yuristy, Fifty Years, 1988, woodcut on paper, 56 x 76 cm, 2015-0179

Russell Yuristy, Man on Tractor, 1989, woodcut on paper, 98 x 127 cm, 2015-0180

Russell Yuristy, My Cactus, 1990, woodcut on paper, 128 x 98 cm, 2015-0181

Russell Yuristy, Hippo, 1989, woodcut on paper, 47 x 64 cm, 2015-0182

Jason Paradis – Ottawa Night

October 22 to November 29, 2015

This new installation consists of a series of paintings based on the star formations that would be visible if you could look out of the gallery at night. While accurately depicting the location of each star, the paintings are abstracted and connected with acrylic yarn to piles of rocks collected around the Ottawa area. What results is an environment that is at once primordial, timely and futuristic.

Opening reception: Thursday, October 22, 5:30 to 7:30 p.m.
Artist talk: Friday, October 23 at 12:30 p.m.

Installation of a pile of rocks and bricks connected to canvases by hundreds of strands of acrylic yarn

Night for Day (Evanston) (installation view), 2014-15, paint on canvas, acrylic yarn, wood and stone, variable dimensions. Courtesy of the artist

Abstract painting of Winston Churchil with geometric shapes and stars

Ottawa Night (Karsh) I, 2015, acrylic and image transfer on canvas, 46 x 36 cm. Courtesy of the artist

Catalogue excerpt

Ottawa Night is a space for visionary introspection, reverie, and contemplation. We must first begin by questioning the role of perspective on the individual components and on the installation as a whole. Are we as viewers looking out into celestial constellations? Are we looking back to a distant but familiar past, or forward to a yet unknown future?

Excerpt from the essay Ottawa Night by Ana-Joel Falcón-Wiebe

Biography

Jason Paradis work reveals a sense of contemplation on fundamental mysteries – the result of a lot of camping under an expansive sky in the northern Canadian wilderness. Born in Cornwall, Ontario, Paradis has lived and worked in the New York area since 1995. His work has been exhibited across the United States and Canada, including at The Cube (Raleigh, NC); the Dittmar Memorial Gallery (Northwestern University, IL); Seed Space (Nashville, TN); Modern Fuel (Kingston, ON); the Lexington Art League (Kentucky); and the Saratoga Art Center (New York). In the summer of 2014, he was selected as an artist in residence at Watch Hill on the Fire Island National Seashore. Paradis received a BFA from Queen’s University (Kingston, ON), an MFA from Stony Brook University (New York), and attended the Artist in the Marketplace (AIM) program hosted by the Bronx Museum of the Arts. He teaches Studio classes at Stony Brook University and Art Theory and Appreciation at St. Joseph’s College.

Allyson Glenn – Catalyst

September 16 to October 12, 2015

In June 2012, Saskatoon-based painter Allyson Glenn discovered a substantive oil spill under her house. Catalyst, the second series from her Allegory project, explores the artist’s personal experience of this event, offering insight into the psychological impact of contamination and the deeper meaning of how people relate to the environment.

Opening reception: Thursday, September 17, 5:30 to 7:30 p.m.
Artist talk: Sunday, September 20 at 2 p.m.

Abstract painting by Allyson Glenn.

The Cave (1), 2013, acrylic and oil on canvas, 198 x 163 cm. Courtesy of the artist 

Abstract painting by Allyson Glenn.

Caught in a Tailings Pond (detail), 2014, acrylic and oil on canvas, 198 x 168 cm. Courtesy of the artist

Catalogue excerpt

[…] the images have their origin in a personal event. In June 2012, a hazardous oil residue from an improperly removed oil furnace was discovered under the artist’s house, after causing health issues to her and her family. As a consequence, the foundation and the façade required excavation and reconstruction – the artist literally had the ground removed from under her feet. The resulting Catalyst series transforms this emotional and imaginable subjective experience. It obscures the actual motive, allowing the paintings to open a dialogue with each individual viewer.

Excerpt from the essay In the wake of dualistic imagery: Allyson Glenn’s series Catalyst, 2012 – 2015 by Deborah Keller

Biography

Allyson Glenn graduated with an MFA from the University of Calgary in 2000, and a BFA from the University of Alberta in 1998. She has received three Elizabeth Foundation Awards, grants from the Alberta Foundation for the Arts, BC Arts Council, the Canada Council for the Arts, and a President’s SSHRC from the University of Saskatchewan. Her work is part of private and public collections including the University of Calgary and the Alberta Foundation for the Arts. She has exhibited throughout Canada, United States, England, Czech Republic, India, and Switzerland. Glenn lives in Saskatoon, where she teaches as Assistant Professor for the Department of Art and Art History, University of Saskatchewan.

Stanzie Tooth – Hand to Ground

University of Ottawa MFA candidate

August 1st to September 10, 2015 

Stanzie Tooth’s recent works explore ideas of origin; both the mythology of a personal origin as well as the origins of painting and representation. Inspired by Margaret Atwood’s novel Surfacing, and paired with reminiscences of her childhood in rural Ontario, Tooth’s paintings unfold oblique narratives of a communion with land. These questions of personal ecology are filtered through an intense material expression, reinforcing the idea of coming into being.

Please note: The gallery will be closed Friday, August 7 for a private reception from 11:30 a.m. to 3:30 p.m. 

Reception: Wednesday, August 19, 5:30 to 7:30 p.m.

Abstract painting of a figure in a landscape.

Agent of Change (hand that points), 2015, oil on canvas over panel, 46 x 56 cm. Courtesy of the artist

Abstract painting of a figure in a landscape.

Silhouette, 2015, oil on canvas, 51 x 41 cm. Courtesy of the artist 

Artist Statement

Hand to Ground is the graduate thesis exhibition of Stanzie Tooth, MFA candidate in the Visual Arts Department at the University of Ottawa. Stemming from her upbringing in rural Ontario, Tooth’s paintings question ideas of personal ecology and a sense of engagement, or interference, with one’s environment. Recent works show various states of morphogenesis; figures are caught in scenes of (de)evolution, haunted by the looming mystery of their destined form. Inspired by the Margaret Atwood novel Surfacing, this body of work looks at conventions of landscape painting and obscures these to express potential for alternative notions of identity to be discovered within the land.

The title of this exhibition refers both to the relationships between figure and ground imaged within these works, as well as the process of painting, the act of the artist’s hand engaged with the surface, or ground, of the canvas. Both of these speak to Tooth’s interest in ‘becoming’, which is expressed through her unique material explorations. Works are left at different stoppages of development to show various modes of emergence. By suspending the formation of figure and scene at different points of the painting process, diverse representations of identity are achieved. The human trace is evidenced in levels of control, subservience or communion with the land in hopes of expressing conflicting ideas of self.

Biography

Stanzie Tooth is an MFA candidate at the University of Ottawa. In 2007 she received her BFA from the Ontario College of Art & Design with an award for excellence in painting. Her work has been exhibited in solo and group exhibitions across Canada including 60 Painters at Humber College, an ambitious overview of contemporary Canadian painting. She was recently named the 2015 recipient of the Joseph Plaskett Award. Stanzie Tooth is represented by General Hardware Contemporary, Toronto. 

As a supplement to our regular programming, Karsh-Masson Gallery is pleased to partner with the University of Ottawa’s Department of Visual Arts to provide a valuable mentorship and professional development opportunity.

Tasman Richardson – Necropolis

Curator: Artengine

June 11 to July 26, 2015

Necropolis is a vast media installation, a memento mori which encapsulates a decade of video experiments in a tactile and immersive environment. Four works with context-specific interconnected spaces shrink and wind through darkness. Artworks extend beyond the frame, transforming the shadows and intangible nature of dead recordings into to an atmospheric, spatial experience for the living.

Opening reception: Thursday, June 11, 5:30 to 7:30 p.m. 
Opening remarks at 5:45 pm
Jean Pigott Hall, City Hall ground floor

Video is dead: A debate on technology and the moving image 
Sunday, July 26 at 2 p.m.
Councillors Lounge, City Hall, 2nd floor
Presented by Artengine and the City of Ottawa
All welcome. Free admission.

Video installation that resembles a rose window in a cathedral. Each hole in the window plays a video of a cinematic portrayal of Joan of Arc.

Memorial (video still), 2012, wood and video, 1:45 min (looped). Courtesy of the artist 

Immersive installation of abstract videos.

Pan (installation view), 2012, video projections, 4 :42 min (looped). Courtesy of the artist

Catalogue excerpt

Video being time-based and archival means it is generally considered the format of rigid documentation, simply recording what is there and replaying it exactly. Tasked with the honest conveyance of the past, is the medium actually accountable to history and its accuracy? Or does it cloak fiction as fact using the aesthetic tricks of the trade, such as shooting-from-the-hip honesty and shaky-cam documentary. Eliminating gloss is a simple way to add believability. Inserting a bit of grit lends the air of spontaneity and immediacy.

Excerpt from the essay Contemporary Necromancy by Tasman Richardson

Biography

Tasman Richardson's life is video and its many expressive incarnations. His practice ranges from live performances to immersive installations. Most often, it takes the form of collage through a process he established in 1996 known as JAWA, whereby musical compositions and visual narratives are created entirely through rhythmically edited appropriated video clips. Richardson has exhibited on nearly every continent, including his live performance Firing Squad at the London Art Fair (2014), and his solo exhibition Lethe Baptism at Neubacher Shor Contemporary in Toronto (2014). He was honoured as the feature artist at Calgary's Particle + Wave festival (2015) and has two works in the National Gallery of Canada's permanent collection. His home base is Toronto.

The artist acknowledges the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.

Please note: this exhibition is dark, has irregular floor surfaces and strobe lights. If you require assistance please contact publicartprogram@ottawa.ca or 613-244-3202 to schedule a viewing.

BioART: Collaborating with Life

Curator: Jennifer Willet

April 28 to May 31, 2015

Bioart is art that uses biological media in the production of art. Stemming from a long tradition of land art, taxidermy and indigenous arts practices, Bioart is a growing field in Canada and abroad. This group exhibition explores contemporary collaborations between human artists and other species in the lab, the wilderness and cities towards the production of biological artworks. Presented by Artengine, the City of Ottawa and the NAC’s Ontario Scene

Reception: Thursday, April 30, 5:30 to 7:30 p.m.
Ontario Scene Gallery Crawl: Sunday, May 3, 1 to 4 p.m.
Performance by Alana Bartol Forms of Awareness: Ghillie Suit
Artist talk with Tristan Matheson and WhiteFeather Hunter, Pelling Lab Artists  in Residence: Wednesday, May 20 at 7 p.m.
Artist talk with Robert Hengeveld: Sunday, May 31 at 2 p.m.

This exhibition is presented by Artengine, the City of Ottawa and the National Arts Centre’s Ontario Scene, and is supported by the Ontario Arts Council.

Documentary photograph of a performance by Alana Bartol

Alana Bartol, Un-Camouflaging #5 from the series Forms of Awareness: Ghillie Suit, 2012 - ongoing, performance in Windsor, Ontario. Courtesy of the artist. Photo: Brigham Bartol

Detail of a chandelier with hanging bats made of cast beet sugar created by Karen Abel.

Karen Abel, Hibernaculum (detail), 2012-2015, beet sugar, salvaged chandelier parts and brass wire, variable dimensions. Courtesy of the artist 

Detail of an installation of a hanging flask containing yellow liquid by Philip Beesley.

Philip Beesley, Breathing pore and protocell from the series Hylozoic (installation detail), 2012, metal, acrylic, mylar, silicone, protocell and chemical solutions, variable dimensions. Courtesy of the artist

Catalogue excerpt

The emerging field of bioart includes a diverse range of practices from the lab, the wilderness, and cities, which use cells, microbes, plants, and bodies (human and otherwise) in the production of art. BioART: Collaborating with Life embraces biological techniques throughout human history as media art and explores complex collaborations between artists and other life forms in the production of cultural expressions. Featuring Ontario artists whose diverse practices merge with life sciences and biotechnology, BioART engages viewers in an evaluation of bioethics that results from the manipulation of life for human and cultural ends.

Biographies

Karen Abel is an artist and naturalist based in Toronto. She creates site-sensitive installations and public artworks that consider, engage and accommodate 21st century urban ecology and biodiversity. Concerned with ephemera and ‘slow art’ processes, Abel is interested in contributing to a culture of ecology through research-intensive, season and time based practices. Abel holds an interdisciplinary Master in Environmental Studies from York University (Toronto) in environmental art practice, cultural production and community art.

Alana Bartol is a multidisciplinary artist, educator and curator based in Windsor. Her collaborative and individual works explore concepts of visibility, transformation and survival through our relationships with nature and each other. She holds a BFA from the University of Windsor and a MFA from Wayne State University (Detroit, MI), where she was awarded the Thomas C. Rumble Fellowship and developed and taught the first Performance Art course in the Department of Art and Art History. Bartol’s work has been presented nationally and internationally.

Philip Beesley is a professor in the School of Architecture at the University of Waterloo. A practitioner of architecture and digital media art, he studied visual art, technology and architecture. His Toronto-based practice PBAI is an interdisciplinary design firm that combines public buildings with exhibition design, stage and lighting projects. Beesley’s work is widely cited in the rapidly expanding technology of responsive architecture. His work was selected to represent Canada at the 2010 Venice Biennale for Architecture, and he has been recognized by the Prix de Rome in Architecture and two Governor General’s Awards, among other accolades.

Cass Gardiner is an Algonquin/Anishinabe documentary artist whose work has screened in festivals across Canada and the United States. She holds a BAH in documentary film from New York University and an MFA in documentary media from Ryerson University (Toronto). 

Robert Hengeveld is an artist whose work explores the boundaries between reality and fiction, and where we find ourselves within that relationship. He completed his MFA at the University of Victoria (BC) in 2005 and studied at the Ontario College of Art and Design (Toronto).  His work has been exhibited across Canada and internationally, and is represented by Mulherin New York/Toronto.

Andrew Pelling is a Canada Research Chair and Professor at the University of Ottawa where he directs the Laboratory for Biophysical Manipulation. An exploratory space where scientists, engineers and artists work in close quarters, the lab is dedicated to understanding the limits of living systems and how biological entities can be controlled, manipulated and re-purposed using non-genetic and non-pharmacological approaches. The work is heavily informed by the biological sciences, biological arts, DIY and a culture of manipulation.

Johl Ringuette is a traditional chef who owns and operates Nishdish Marketeria & Catering in Toronto. Raised in Northern Ontario, his knowledge of indigenous food was provided by his father, a hunter, and inspired by the culinary wisdom of his mother. Yearning for the foods from his childhood such as wild game, freshwater fish, berries and maple syrup, he set out to provide Aboriginal catering to the urban community. The food the company offers is smudged by elders, a tradition using sacred natural medicinal herbs or grasses that is said to cleanse a person of negative energies, and a spirit plate is created for their ancestors. In 2013, Ringuette received the Businessman of the Year award at the Toronto Aboriginal Businesses Awards.

Dr. Jennifer Willet is an internationally successful artist in the emerging field of bioart. Her work resides at the intersection of art and science, and explores notions of representation, the body, ecologies, and interspecies interrelations in the biotechnological field. Willet completed her PhD in Humanities at Concordia University (Montreal). She currently works as an Assistant Professor in the School of Visual Arts at the University of Windsor. In 2009, she opened the first biological art lab in Canada, called INCUBATOR: Hybrid Laboratory at the Intersection of Art, Science, and Ecology, at the university.

Magida El-Kassis, Olivia Johnston & Jennifer Stewart – SELFIE

March 17 to April 19, 2015

The self-portrait has a strong presence both within art history and within popular culture. In the past twenty years, society’s collective engagement with photography – and indeed, the self-portrait – has evolved enormously. El-Kassis, Johnston and Stewart will consider this phenomenon, first by investigating the role self-portraiture plays within their own practices, and secondly by engaging in the discourse surrounding the self-portrait within modern culture.

Opening reception: Thursday, March 19, 5:30 to 7:30 p.m.
Artist talk: Sunday, April 12 at 2 p.m.

Self-portrait photograph of Magida El-Kassis.

Magida El-Kassis, let me sing you a waltz, 2013, silver gelatin print, 13 x 15 cm. Courtesy of the artist

Self-portrait photograph of Jennifer Stewart.

Jennifer Stewart, muse, 2014, inkjet print, 68 x 90 cm. Courtesy of the artist

Three photographs of used makeup pads

Olivia Johnston, Detritus (cosmetic pads) (detail), 2015, inkjet prints, variable dimensions. Courtesy of the artist

Catalogue excerpt

In SELFIE, we engage with self-portraiture and its relation to both the body and the mind through photographic images, installations and audio works. Our content shifts from representations of our physical selves to more conceptual notions of the self-portrait, allowing for divergent understandings and interpretations by viewers and artists alike. We grapple with our bodily manifestations through the instrument of self-portraiture; the result is both personal and public, and questions the physical and psychological self.

Biographies

Magida El-Kassis is a photographer currently residing in Toronto, where she is developing her craft. Her highly personal imagery explores questions of identity and the minutiae of life. El-Kassis’ photographic practice has resulted in significant travels abroad: in 2010, the French Embassy sent her for a portfolio review to Perpignan, France; in 2011, she attended a trial artist's residency at Fabrica, a creative laboratory in Italy; most recently, she travelled to the Middle East, funded by a City of Ottawa professional artist project grant. El-Kassis’ work has been published internationally and was added to the City of Ottawa Art Collection in 2012, 2013 and 2014. She is a graduate of the School of the Photographic Arts: Ottawa (2010).

Olivia Johnston is an artist and curator based in Ottawa. Engaged by questions of art history and the photographic image, she explores issues of gender, sexuality, vulnerability, and social justice in her photo-based practice. Johnston is a graduate of the School of the Photographic Arts: Ottawa (2012), and is currently pursuing an art history degree at Carleton University. Her work has been displayed locally as well as internationally, in New York, Portland and London; her work is included in the collections of La Petite Mort Gallery (Ottawa) and the City of Ottawa. Her photographs have appeared in publications such as NU Magazine (Montreal), Herd Magazine (Ottawa), the Ottawa Citizen, and Applied Arts Magazine (Toronto).

Jennifer Stewart is mesmerized by the physical presence of an image. She collects Kodak Carousel projectors and archives slides that are both found and created. At night, Stewart produces paper negatives and silver prints in her bathroom turned darkroom. As she builds her work through experimental self-portraiture, she connects with others by talking about her work. Stewart is a graduate of the School of the Photographic Arts: Ottawa (2010). Prior to studying photography, she attained a degree in Psychology from the University of Ottawa (2008). Stewart is currently exploring film, audio, projection, installation, new media and collaboration in the Ottawa-Gatineau region. Her work is in the City of Ottawa Art Collection. 

Sébastien Lafleur – Polymorphisme (Polymorphism)

January 30 to March 8, 2015

Polymorphisme features recent paintings, drawings and sculptures by multidisciplinary artist Sébastien Lafleur. He challenges and redefines the condition of the contemporary landscape by manipulating materials he recovers from nature and the urban environment. Inspired by architectural, digital and biological imagery, Lafleur’s compositions are a hybrid of natural and artificial components.

Opening reception: Friday, January 30, 5:30 to 7:30 p.m.
Artist talk (in English with bilingual Q&A): Sunday, February 1st at 2 p.m.

Image of a geometric mixed media artwork that represents an abstract mountainous landscape.

Nacre d’abalone, 2014, acrylic, graphite, paper, wood, metal, plastic and resin, 104 cm x 122 cm. Courtesy of the artist

Geometric sculpture. The exterior layer is made from a cork surface and the interior is covered with protruding porcupine needs.

Échinoderme, 2014, cork, paint and porcupine needles. Courtesy of the artist. 

Catalogue excerpt

Emerging from an imagination largely inspired by science, architecture and the digital age, as well as by elements and materials gathered during his explorations in the natural and urban environment, Lafleur’s meticulous and almost archeological creative process generates new forms and textures that are fuelled by an adversarial relationship between man and nature. He explores the contemporary realities of an ever-changing and mutating landscape, presenting a multi-faceted exhibition where paintings, drawings and sculptures intersperse in an effort to rethink and redefine the artificial/natural dichotomy - a mainstream problem. For Polymorphisme, Lafleur created pieces that are both organic and industrial, combining techniques, artistic trends as well as materials to ultimately bring to life multidimensional artworks that deconstruct the linearity of structures and the human habitat.

Excerpt from the catalogue essay by Benoit Palop

Biography

Sébastien Lafleur (b. 1985) lives and works in Montreal. He grew up in Ontario and began his training at Centre d'Excellence Artistique (CEA) in Ottawa before continuing at UQAM in Montreal, where he earned a bachelor’s degree. Lafleur is drawn to multidisciplinary and has developed a unique practice and creative process that merges painting, drawing, sculpture and video. Inspired by our urban and natural surroundings, he creates fictional environments from multiple materials and objects. Through his explorations, Lafleur documents and challenges the realities of an existing landscape in perpetual motion. The results draw on a rich visual and symbolic aesthetic stemming from architectural, digital, biological, microscopic and macroscopic spheres. Lafleur’s work has been exhibited in Montreal, Ottawa and Quebec City, and is included in several municipal and private collections.

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