Past Exhibits

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In Black and White

Sept. 4, 2015 - Feb. 10, 2016

In many ways, we live in a pretty remarkable time when it comes to image making (and a whole lot more, but for brevity, we won’t address that here). Advances in technology mean anyone can take ‘perfect’ photos and 3D printing is revolutionizing the production of everything from sculptures and garments, to homes and human tissue. Today, the creation of virtually any image or object can seem effortless in contrast to the labour of past generations.

For the fall exhibition, we chose to explore some of these avenues by putting strict parameters on the works shown: all had to be in black and white. Not only does it set a factual tone, a reference to documents, contracts and the like, it is also influenced by history, the criteria references a time when illustrators first learned to render the body in graphite or conte, before beginning to master colour. Or the advent of photography, where subtle shades of grey seemed to bring a parallel world to life, one devoid of hue. The resulting exhibition aims to give a snapshot of artists working today in a variety of media, bringing works to life without the use of colour.

The show opens with a site specific installation by Marvin Luvualu Antonio. Described as self portrait, it's part assemblage, part fashion statement and part slapstick. Bringing to mind moments when we've all 'put our foot in it'.

Luis Mora has taken over the lobby wall with a wheat pasted installation of black and white portrait photos. Many of the subjects are Toronto-based artists, creating a kind of multilayered community dialogue. Artists' work is often the only public visual representation audiences are familiar with, to have their portraits translated into art, the world has a view of their alternate identity.

The back of the lobby hosts a video installation by Alex McLeod. These short digital experiments regularly inspire a host of emoji comments on the artist's Instagram, here they are screened together in a series of hypnotic video gestures. The projected images bringing audiences together to view the work and appreciate the intricate details running through each piece.

The cafe presents two very different works, Janieta Eyre's epic black and white photo, Yes Queen from 2000, where the artist presents herself in a seemingly formal portrait that leaves much to the imagination. On the adjacent wall Lisa DiQuinzio's painted canvases call to mind black tutus arranged in a triangular composition on the wall, they are at once paintings and sculptures.

Through this collection of varied installations we hope you've had a chance to appreciate the multifaceted ways artists are exploring concepts with a limited palette, that it gives you a new appreciation for our colourful world.

With thanks to Clint Roenisch Gallery, Katharine Mulherin Contemporary Art Projects, Division Gallery and Erin Stump Projects.