Karilee Fuglem: What I see each moment I’ve never seen before

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February 6 – 27, 2016
Opening: Saturday February 6 from 3 pm to 6 pm | Artist in attendance

Pierre-Francois Ouellette art contemporain is excited to present Karilee Fuglem‘s first solo exhibition at the Toronto gallery, What I see each moment I’ve never seen before.

Karilee Fuglem‘s work takes the form of installations, drawings, photographs and artist books, through which she explores visual subtlety as a key to embodied perception. Raised in Kamloops, British Columbia, she has lived in Montreal since 1989, and frequently travels back and forth between her two “homelands.” She has presented solo exhibitions across Canada, notably at the Darling Foundry (Montreal), the Koffler Gallery (Toronto), Oakville Galleries (Oakville, Ontario), Rodman Hall (St-Catharines, Ontario) and numerous group exhibitions, including the Biennale de Montréal in 1998 and 2011. Fuglem has also exhibited in group exhibitions at the Musée d’art contemporain, the Musée national des beaux arts du Québec and the National Gallery of Canada, who hold her work in their collections.

The artist states about the exhibition:

“A few months ago I made a sign for my studio, which still makes me burst out laughing. “NO IDEAS”* may seem like a declaration of defeat, but for me it’s a deadpan directive back to the here and now, clearing my head of projects, theories, explanations, metaphoric parallels. They’re all distractions from things like this little spot of light projected from who knows what, slowly coursing across my wall.

The work I’ll present at Centre Space is, like everything I see, made of reflective surfaces. They move when we move, giving back scraps of whatever is around them. The displaced air that sets them adrift is the same air that touches our skin. We feel what we see. Tellingly, some of this work began with photographs. One was of a place too personal to get across without betraying its intimacy, though I tried – shredding and reassembling it, blowing it up very large, slashing it into strips dangled with reflective materials, until, at last, the photographic image was unnecessary. Everything unsayable about that image is whispered by these simple wafting strips, alive in a way the photo couldn’t be. It reminds me how the past continues in us, never held still.

Maybe any meaning outside your/my experience of this work is irrelevant. There is this: material responding to the slightest shifts in light and air, returning me again and again to here, where I live.”

*My studio sign took root with poet Fernando Pessoa, his voice a tonic as Alberto Caeiro, in The Keeper of Sheep, which I read in translations (and my favourite, a transélation** by poet Erin Mouré as Eirin Moure). I paraphrased my title from the Edwin Honig/Susan M. Brown version.

**Eirin Moure, Sheep’s Vigil by a Fervent Person, Toronto: Anansi Press, 2001 and Fernando Pessoa, The Keeper of Sheep (O Guardador de Rebanhos), Edwin Honig and Susan M. Brown, translators. Riverdale-on-Hudson, NewYork: The Sheep Meadow Press, 1971.

The Gallery thanks SODEC for its support.

Please visit the gallery website for more information, detailed images of the works presented and installation views.

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Universal Cobra – Book Release and Signing

Shary Boyle will be at Feheley Fine Arts to celebrate and sign a new book on February 6th, 2016. Universal Cobra is a limited edition, full-colour companion book to the collaborative exhibition between Shary Boyle and Shuvinai Ashoona. The exhibition, organized jointly by Feheley Fine Arts and Pierre-Francois Ouellette art contemporain previewed in Toronto in October and was exhibited in Montreal in late 2015. A selection of the drawings by both artists will be on view during the month of February.

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Images :
Karilee Fuglem, (work in progress)
Shuvinai Ashoona & Shary Boyle, Technicians, 2015, ink on paper and coloured crayon, 98 x 107 cm (38.5″ x 42″)

 

 

Naomi Cook : Allegory Algorithm

Form XXIV
August 8 – September 5, 2015

Opening: Saturday August 8th from 3 pm to 6 pm
Artist in attendance

Allegory Algorithm addresses different modes of data visualization used by the artist as allegories for current socio-politcal events. In turn, these works are complemented by more classical allegorical drawings that speak to the movement and fluctuation of data-driven environments.

This exhibition is comprised of three elements: The BATS stock exchange visualization, the Pianola Project, and the Forms drawing series. The BATS stock exchange visualization is a set of drawings accompanying a six minute hand-drawn video mapping the drop in value of a stock affected by high-frequency trading algorithms. Each second of the video shows three milliseconds of the original stock data. The Pianola Project is based on a player piano scroll of Pete Wendling’s song “Hesitation Blues”. This was used as a template to transfer the placement of notes onto a 4 x 18 ft roll of paper, embellishing the original in a fractal-inspired way influenced by Benoit Mandelbrot’s theory of noise and disturbance. The Forms series uses many of the stylistic similarities in Cook’s data processing and visualization to depict ambiguous human forms in bizarre yet classical poses, as if cast from a mould of manipulated data.

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Naomi Cook is a multi-disciplinary artist based in Montreal. Cook’s technique stems from interests in engravings, sound and visual representations of sound. In 2005, she founded Red Bird Gallery and Studios in Montreal, working as director and curator until 2010. She subsequently relocated to Berlin, collaborating on projects and proposals including an immersive architectural work. Her work was featured in several group exhibitions in Montreal and abroad, online as a frequent contributor to GIF LORDS, and in the 2014 edition of POP Montreal. Most recently her works were selected by Canadian Art Magazine as favourites of the 2015 edition of PAPIER Art Fair.

Contact: info@pfoac.com
PFOAC would like to thank SODEC for its support

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image credits:
Naomi Cook. Form XXIV. Ink, paper (26″ x 34″)
Naomi Cook. Pianola. Presentation table, ink on paper (4′ x 18′)

Installation views:

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Marie-Jeanne Musiol: Luminous Fields

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May 2 – 30, 2015

Luminous Fields presents images of light imprints from plants and metal circles captured by Marie-Jeanne Musiol with electromagnetic photography. The series is part of a more extensive energy herbarium assembled by the artist at the intersection of two imaginary visions embodied by Goethe, poet and scientist, and David Bohm, quantum physicist.

In the gallery, 30 small backlit positives mounted on wood modules create a space reminiscent of a study cabinet. Although not visible, the backlighting material, a phosphorus sheet activated by electricity, is not unlike other bioluminescent phenomena at work in the natural world. A short video translates in real time the activity of highly mobile fields around plants, with a soundtrack of live sap ascending a tree providing an added expression of plant states. While considering historical presentation of botanical specimens and philosophical debate on the status of plants, erroneously thought to have no nervous system, Musiol also uncovers the presence of cosmic configurations enfolded in minute details of photographed leaves. From nature to cosmos, she speculates on the transfer of information occurring between dimensions in a holographic universe.

Contact: info@pfoac.com

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image credit:
Marie-Jeanne Musiol, Bodies of Light (Configuration 4), 2015

Mark Clintberg: Vitrine

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March 28 – April 25, 2015

Pierre-François Ouellette art contemporain is pleased to present its first collaboration with Mark Clintberg: Vitrine, a solo exhibition of new works including sculptures, monoprints and video. Vitrine features a suite of works that address expressions of affection and protection in close, intimate relationships by drawing on the western museological tradition of glass display cases.

Mark Clintberg was born in Edmonton. He lives and works in Montreal. As an artist, critic, art historian and curator, he often reveals the fluidity between private and public, intellect and emotion, interior and exterior. He earned his Ph.D. in Art History at Concordia University in 2013, where he is an Assistant Professor, LTA. His work has recently been shown at the Dunlop Art Gallery (Regina), the Art Gallery of Nova Scotia (Halifax), the Art Gallery of Alberta (Edmonton), the Illingworth Kerr Gallery (Calgary), AXE NÉO-7 (Gatineau), and Trapdoor Artist Run Centre (Lethbridge). Other exhibitions featuring his work have taken place at Locust Projects (Miami), the National Gallery of Canada (Ottawa), the Banff Centre, Centre des arts actuels Skol (Montreal) and Eastern Edge (St. John’s). He was shortlisted for the 2013 Sobey Art Award for the region Prairies and the North. Public and private collections across Canada and in the United States including the National Gallery of Canada and the Alberta Foundation for the Arts have acquired his work.

Please visit the gallery website for more information.
Contact: info@pfoac.com

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image credit:
Marck Clintberg, Pudenda 1-2, 2014, monoprint on Somerset paper, 61 x 46 cm (24″ x 18″) ea.

 

Nicotye Samayualie

February 28 – March 28, 2015

nicotye-samayualie-inuit-art-feheley-fine-artsNicotye Samayualie is part of the younger generation of artists in Cape Dorset. In addition to being an artist and a devoted mother, she is has studied art education, and has worked in social services and military recruitment.

Samayualie’s drawings reflect her life and personality, while her thoughtful details and individual graphic style demonstrate a contemporary edge. Her landscapes, although inspired by her environment and camping trips with her family, are imaginative and conceptual.

Samayualie uses symbolism as a tool to provide a narrative of her life, personifying inanimate objects and flowers to represent her family, personal tales and tragedies. Her drawings often portray a dichotomy; a single image will depict calm and beautiful subjects while embodying the artist’s struggle and suffering. Lady Lonely Flower demonstrates this duality by contrasting a bright and stunning flower against the artist’s personal feelings of desolation due to the absence of her partner in her and her children’s lives. Similarly, the imagery of Thinking of Prayers is at once peaceful and painful, integrating the visual serenity of the landscape with the artist’s emotional devastation.

Samayualie’s prints have been featured in the Cape Dorset Annual Print Collection and her drawings have been exhibited in many groups shows in Canada. We are honoured to present her first solo exhibition of original drawings.

CLICK HERE TO VIEW IMAGES

Kent Monkman: Expelling the Vices

January 31 – February 28, 2015
Opening: Saturday January 31st from 3 pm to 5:30 pm

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Pierre-François Ouellette art contemporain is proud to present new paintings by Kent Monkman. In keeping with earlier works that explore the mythologies of Western culture illuminating truths about European colonization of North America, Monkman casts his alter ego in the roles of four powerful and mythological females: Danae, Leda, Minerva and Helen of Troy. Against the lush backgrounds of romantic landscapes, Monkman employs the allegorical and sensual language of classical painting to condemn the violation of the land and First Peoples of North America. Borrowing ancient parables from Western cultures as lessons against deception and disguise, Monkman’s paintings reference the lies, failed promises and broken treaties perpetrated by the Canadian and US Governments against indigenous people.

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Images:
Expelling the Vices (2014) acrylic on canvas 60″ x 84″ (top)
Iron Horse (2015) acrylic on canvas 84″ x 126″ (bottom)

John Player

November 27, 2014 – January 24, 2015
Opening: Thursday November 27th from 5 pm to 7:30 pm
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Pierre-François Ouellette art contemporain is pleased to present a solo exhibition of new paintings and watercolours by emerging artist John Player. The culmination of John Player’s MFA work presents a restrained and detached view of surveillance culture. Endless defense from an unknown but constant threat is unveiled in appropriated images from mass media, newspapers and archives found largely on the Internet. In these works, dominant culture’s obsession with speed and control is confronted with the slow read of painting; the banality and distraction of technology here challenged by painterly care.

John Player will be present for the opening.

Kota Ezawa’s video LYAM 3D continues until January 24th, 2015 in the recently inaugurated PFOAC VIDEO ANNEX.

Views of John Player at Centre-Space:
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A New Perspective

November 8 – 22

CPT 7874

This group exhibition will be a combination of drawings and sculpture by emerging artists, accompanied by works in new media by established artists. Among those included will be Kudluajuk Ashoona, Saimaiyu Akesuk, Nicotye Samayualie, and Koomuatuk Curley.

Intertwined

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11 – 26 October 2014
Centre Space

Conversation with Jérôme Fortin, Shaunna McCabe, Sarah Quinton, Pat Feheley and Pierre-François Ouellette
Sunday 26 October at 11:00 am

Feheley Fine Arts and Pierre-François Ouellette art contemporain are delighted to unveil their first collaborative exhibition at Centre Space. Intertwined features Inuit textiles juxtaposed with works referencing textiles by Jérôme Fortin.

The creation of textile works of art is a modern adaptation of the traditional practice of creating intricate patterns in skin clothing. This form of graphic expression, also found in incised lines on utilitarian objects, established a rich image history. The introduction of southern materials, including duffel, felt and embroidery floss, allowed this rich tradition to find new life in contemporary wall hangings. The works of Irene Tiktaalaaq Avaalaaqiaq, Elizabeth Angrnagangrniq, Winnie Tatya, Naomi Ityi included in this exhibition are all unique, yet they present a cohesive statement about the beauty and power of Inuit contemporary textiles.

Jérôme Fortin returned to Japanese culture for inspiration in the series titled Self-portraits that he is presenting as part of Intertwined at Centre Space. The work was produced in 2008 as part of an artist residency at Tokyo Wonder Site,  a centre for contemporary art production, research, presentation, and exchange.Fortin created his Self-portraits from paper-based objects he found and collected while strolling through the streets of Tokyo, from the maps that helped him discover the world and from blank musical staves full of unheard potential. The series is primarily inspired by the traditional practice and healing ritual of Senbazuru, or Thousand Origami Cranes. The works are suggestive of kimonos, of the fabric they are made from, and of their mode of presentation in shop window displays and museums.

The two Self-portraits exhibited at Centre Space were shown in Shanghai, Tokyo and recently in Montreal at the Quebecor Gallery Museum (May 2014). Another work from the series is currently travelling in Dreamland: Textiles and the Canadian Landscape organized by the Textile Museum of Canada and shown at Museum London last Winter.

Of note, the onversation with Jérôme Fortin, Shaunna McCabe, Sarah Quinton, Pat Feheley and Pierre-François Ouellette that will take place Sunday 26 October at 11:00 am. Shaunna McCabe and Sarah Quinton are respectively the Executive Director and the Curatorial Director of the Textile Museum of Canada.

Bio Jérôme Fortin:

Recipient of the Pierre Ayot prize given by the City of Montréal in 2004, Fortin has had more than a dozen solo exhibitions including shows in Prague, Pretoria, Tokyo, Paris, Toronto and Montreal. His work has been presented in group exhibitions in Istanbul, Berlin, Bologna, Brussels, Paris, Cuba, Barcelona, Beijing and New York. Fortin has also actively participated in international artists’ residencies, notably at the World Financial Center Arts and Events (New York), la Fondation Christoph-Merian (Basel), Fonca (Mexico D.F.), la Cité internationale des arts (Paris), the Ludwig Foundation of Cuba (Havana) and Tokyo Wonder Site (Tokyo). The Musée d’art contemporain de Montréal presented a major solo exhibition of his work in 2007 and in 2008 he participated in the first Biennale de Montréal. His works can be found in several public collections including those of the Musée d’art contemporain de Montréal, the Musée national des beaux-arts du Quebec, the Musée de Joliette, the Pretoria Art Museum, the National Museum of China, the Bibliothèque et archives nationales du Québec, the Canada Council Art Bank, the City of Montreal, and in several major corporate and private collections worldwide. He was a guest artist of the atelier of Antoni Tapies at the invitation of Toni Tapies Gallery where he produced the suite of prints entitled Barcelona and has been commissioned a number of public art projects in recent years.

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