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Curated by Curated by Patrick Macaulay
October 20 – October 20, 2020
In this frenetic and variable world, nothing seems to happen fast enough. For artists, this pace and inconsistency seems to be in direct opposition to artistic practice. For creators, time often is the adversary of an inspired and inventive process. Is there a way to exist in this millennial frenzy and yet, produce work one feels is complete and true? Can artwork be fully and timely realized and how does the artist respond to the incompatibility of the instantaneous?
All Right Already is a timely meditation on artistic practice and production. The exhibition looks at four artists whose studio process is attuned to the dilemmas of 21st century art-making. Art that is produced not measured by rapidity, but rather within the rate and movement of artistic ideation. The studio practice of these artists challenge the pursuit for immediate reward and instead, produce complete works that emphasize experimentation and revel in discovery. Whether finding new meaning in the detritus of the studio or the involved accidents of composition and construction, these activities celebrate artistic exactness and fulfillment.
– Patrick Macaulay, Director, Visual Arts
Somewhere over the rainbow abstraction and figuration meet.
In this place my studio investigation begins. In pursuit of a little surprise, something unexpected, strange yet familiar…
My process is one of experimentation and improvisation.
At different stages I work like a detective, with my eyes open and my ears close to the ground. At other stages I allow my visual memory to take the lead and give it free reign, with no judgment. Throughout taking cues from and responding to the world around me, remaining attentive to both natural and cultural forms. Looking closely at structures such as anatomy and architecture, along with the aesthetics of fashion and textiles.
My medium – water-based inks, gouache, Flashe and markers on cardboard and paper – makes it almost impossible to rework and correct. My drawings and paintings are a record of my conversations with myself in my studio, my jamming with colour, shape and line.
– Ruth Adler
Born in Winnipeg, Ruth Adler now lives and works in Toronto and Tel Aviv. Her work includes paintings, digital works on paper, animation and textiles. Adler has exhibited internationally since the 1980s. She has had solo exhibitions with Jim Kempner Fine Art in New York, the Lonsdale Gallery in Toronto and a retrospective of her textile work was held in 2014 at the Lorber Gallery in Tel Aviv. She has received many prizes and grants for her work including a BravoFact award for her animation about Yellowknife.
Known as a gifted colourist, Adler has received art and design commissions from institutions such as The Schneider Children’s Medical Centre in Petach Tikva and the Iroquois Hotel in New York.
Pancho (a small, enthusiastic dog) has a vision of heaven, but chooses the neighborhood dogs.
The ideas that shape our lives and give them meaning can also waste our time and prevent us from being aware of the everyday miraculous, even the everyday ordinary.
Combining the compressed structure of a graphic novel with the physical immersion of installation, Habitat layers over a sub-current of violence, the vague promise of a blue heaven, a last glorious sunset and Habitat itself.
Habitat is an enormous apartment complex, filled with the messy lives of its occupants, overheard conversations, smells, sounds, thoughts, misunderstandings; “real” people and figments of their imagination; the through-story of the prodigal daughter.
The installation is handmade from woodcuts with the addition of sculptural objects, wigs and belts to create the right amount of chaos.
– Libby Hague
Libby Hague, RCA, (BFA Honours, Concordia University (SGWU))
Thematically, Libby Hague’s work examines humane and complex social relationships in a precarious and interconnected world. Her concerns, curiosity and love of invention have led her to a hybrid practice of printmaking, installation and animation.
Her recent solo exhibitions include the Idea Exchange (Cambridge, ON), Centre Clark (Montreal), the Art Gallery of Ontario, YYZ Artists’ Outlet (Toronto) and the Art Gallery of Mississauga. Recent group exhibitions and spectacles include Build…build better (Zion Schoolhouse, Toronto), All that Glows (Art Gallery of Nova Scotia) and Monster Child (Nuit Blanche, Toronto). She lives and works in Toronto.
The Charts are series of ongoing exercises in collage. On view are an excerpt of 22 works. Thirty seven Charts currently exist in the series.
– Vanessa Maltese
Vanessa Maltese is a Toronto-based artist who holds a BFA from OCAD University and is the National Winner of the 2012 RBC Canadian Painting Competition. Recent and upcoming exhibitions include: The Power Plant (Toronto), Cooper Cole Gallery (Toronto), Onsite [at] OCAD University, Art Museum at the University of Toronto, In The Pines (Jackson, WY), Nicelle Beauchene Gallery (New York, NY), Halsey McKay (East Hampton, NY) and Greenpoint Terminal Gallery (Brooklyn, NY). She is represented by Cooper Cole Gallery (Toronto).
“Dimensions of the work are to be determined once installed. I would like to consider this as a single work, rather than a series.”
Trimmings was first mounted as part of The Wardens Abroad (2012), a collaborative exhibition with Heather Goodchild at Sur la Montagne Gallery in Berlin, Germany. This work explores working methods, specifically the romance of production. Investigating the intimate bond between maker and object, the value of work is given pride of place. My process has been ritualized by selecting and exhibiting porcelain pieces that are incidental to the making of pots on the wheel. Trimmings pulls beautiful moments throughout the process of throwing that usually only the artist sees, allowing a meditation on making. Shifting between conception and creation, performance and objecthood, the poetics of happenstance and the tangential become the celebrated outcome.
– Naomi Yasui
As a ceramic artist, working in sculpture, performance and installation, Naomi Yasui’s conceptual practice revolves around process, form, and happenstance. Her work enforces the notion of an aesthetic and spiritual pursuit rather than a concrete objective, lending insight into an ongoing practice. Focusing on the act of making as an extension of sentient being, she explores the intimate bond between maker and object.
Yasui studied Material Art and Design at the Ontario College of Art and Design. She has exhibited nationally and internationally. Recent solo exhibitions include Chapter IV: Painting with Fire (ESP Gallery, Toronto), Chapter XI: Vases (Katharine Mulherin Contemporary Art Projects, Toronto), and Wardens Abroad (Sur la Montagne, Berlin). Recent group exhibitions include The Japanese Canadian Cultural Centre (Toronto), Narwhal Contemporary Art Projects (Toronto); The Power Plant (Toronto), and Battat Contemporary Gallery (Montreal). Yasui was granted an Artist-in-Residence placement at Guldagergaard in Skælskor, Denmark in 2014.