Chih-Chien Wang: What You Found Only Exists in Another World

Chih-Chien Wang
What You Found Only Exists in Another World

December 1 – 22 2018
Opening Saturday December 1st from 3pm to 6pm
Artist in attendance

65 George Street
Toronto, Ontario, Canada
M5A 4L8

Open Tuesday to Saturday 11am to 6pm

Pierre-François Ouellette art contemporain Toronto is proud to present a solo exhibition of new photographs by Chih-Chien Wang.

“What You Found Only Exists in Another World” subtly transcends the viewer with the sensation of having no tongue—where the familiar becomes unsayable, unfathomable, unknown, a wordless world rich with visual phantasm. Early 20th century modernism’s epitaph is perhaps its possibility to mouth the unseen, to encapsulate without afore-learned language, another world. Chih-Chien Wang’s recent photographic essai emphasizes modernism’s alterity whilst cutting the stoicism of its historical regulation and categorization.

And yet, the works precisely chosen and collected do not attempt to challenge or circumvent language, they simply ask (or demand) the viewer to see, to inhabit our so-called position. A strategic crop truncates snow into aerial distance reportage and a naturalistic sublime, a freshly cut cabbage extends beyond a countertop surface to muster all the resplendence of a melting ice cap, an orange is galvanized into a small heart, and a bushel of grapes, picked, eaten and then exhibited as a specimen of a small tree complete with a hand-cut paper horizon line, seize our attention from the mundane to the spectacular, from seeing nothing to seeing climaxes in performance and spectatorship within the seemingly futile.

We are never fooled by the objects, they remain as they are. Their implicit duality with otherworldliness is made complicit and conspicuous. It is this specific space of performativity, where the actor (the artist) acts as both producer, director and cinematographer, nudging (ever so slightly), where Wang’s work transforms quotidian acts into a form of intricate performance—swallowing, cutting and walking perform coyly and question the viewer’s search for shrewd enjoyment and extravagant consumption.

Spectatorship behooves a reminder of the human body: shrewd and selfish eyeballs and the ability to also produce works of mega Hollywood level spectatorship (hands, legs, muscle and minds), the geological and earth-worn specimens presented by Wang draw our attention to the rolling ball beneath our feet, mocking insistence on ego-centrality, naming, buying, saving, selling, using and toiling, in the same way the images themselves underscore the beauty of uselessness.

– Margaret Haines

The Gallery thanks SODEC for its support.


Chih-Chien Wang was born in Taiwan and lives in Montreal since completing a master’s degree in the Department of Studio Arts, at Concordia University in 2002. He studied previously in cinema and theatre at the Chinese Culture University in Taipei, Taiwan. In 2018 he was appointed assistant professor in photography at Concordia University. Recent solo exhibitions include Kunstlerhaus Bethenien (2016), Art Gallery of Mississauga (2015), Darling Foundry in Montreal (2015), Expression in Saint-Hyacinthe (2014), Musée régional de Rimouski (2013), Montreal Museum of Fine Arts (2012), and numerous group shows, including at the Kamploops Art Gallery (BC), Justina M Barnicke (U of Toronto), Jack Shainman Gallery in New York, The Quebec Triennial at the Musée d’art contemporain de Montréal, the National Gallery of Canada, Leonard and Bina Ellen Art Gallery in Montreal, Zenith Gallery in Beijing, Aperture in New York, Musée de l’Elysée in Lausanne Switzerland.

Wang’s work has entered important collections such as the Musée d’art contemporain de Montréal, the Musée des beaux-arts de Montréal, the Musée National des Beaux-Arts du Québec, the National Gallery of Canada, Hydro Quebec, National Bank of Canada, Royal Bank of Canada, TD Bank, Global Affairs Canada, Caisse Desjardins, Caisse de dépôt et placement, the Musée de l’Elysée, Lausanne, Switzerland, Giverny Capital, BMO Financial Group, City of Montreal and Canada Council Art Bank.

The Canada Council of the Arts awarded Wang the 2017 Duke and Duchess of York Prize in photography and he has been selected as a finalist of the senior visual arts award in Montreal – Le Prix Louis-Comtois 2018.

For the list of available works please consult the gallery website

Kent Monkman: The Madhouse

Kent Monkman
The Madhouse

October 27 – November 24, 2018

Opening Saturday October 27th from 6pm to 8pm
Artist in attendance

65 George Street
Toronto, Ontario, Canada
M5A 4L8

Pierre-François Ouellette art contemporain is pleased to unveil Kent Monkman’s new series of paintings in Toronto entitled The Madhouse. This exhibition coincides with an important presentation of Monkman’s work at Art Toronto.

The Madhouse
My latest series The Madhouse reflects on the legacy of colonial institutionalization of Indigenous peoples in Canada. Drawing inspiration from Michel Foucault, Francis Bacon, and Francisco de Goya, the Madhouse series depicts literal and allegorical struggles between guards and inmates in claustrophobic spaces of internment, exposing the psychological impact of incarceration on Indigenous people.

Since the political formation of Canada, Indigenous peoples have been subject to colonial policies of incarceration and institutionalization. In 1876, the Indian Act confined Indigenous people to colonial borders and categories, restricted how they were legally allowed to relate to their land and traditions, controlled their movement, and to this day still defines who is and who is not an “Indian.” In its attempts to assimilate us into the colonial project, the Canadian government has been removing Indigenous children from their families, communities, and cultures since 1883. Whether it was seven generations of residential school, or the staggering number of children in the child welfare system, these abusive policies led to widespread trauma and other mental health issues among survivors, which in turn gave rise to a pattern of over-incarceration of Indigenous adults in hospitals and prisons. Today, Indigenous people represent about five percent of Canada’s population, but over half the children in foster care are Indigenous. Almost half of incarcerated youth are Indigenous, and Indigenous adults comprise twenty seven percent of the federal prison population. In some prisons, like those in Kenora, the Indigenous population represents ninety percent of the inmate population. The Indigenous people I portray in the Madhouse paintings bear the effects of intergenerational trauma, and I wanted to show the raw expression of that pain as well as honour their strength.

I located the Madhouse series in spaces that evoke colonial institutions. In scenes recalling Michel Foucault’s panopticon, Indigenous people are isolated in cold, oppressive prisons, denied their individuality by a society that categorizes and confines them according to its needs. Echoes of Francis Bacon’s abstracted architecture and spaces of confused violence are visible in the dark institutional walls and interactions between the fenced-in figures. The brutal encounters that take place within the paintings also evoke the turmoil of Francisco de Goya’s madhouse works, from which this series takes its name. The figures are locked in both physical and metaphysical struggles, with some works depicting celestial beings that perhaps only the inmates can see.

By exposing the violence and trauma of colonial institutionalization that continues in Canada and so many other countries to this day, I wish to pay homage to the enduring resistance of Indigenous peoples.


For the list of available works please consult the gallery website.

Benjamin Klein: Glider Shifter Bender

Benjamin Klein
Glider Shifter Bender

October 6 – 20, 2018
Opening Saturday October 6 from 3 pm to 6 pm
Artist in attendance

65 George Street
Toronto, Ontario, Canada
M5A 4L8

Pierre-François Ouellette art contemporain is pleased to present Benjamin Klein’s first solo exhibition of paintings in Toronto. These new works broaden the visual language and philosophical nature of Klein’s practice. In a description of Klein’s previous body of work, John Bentley Mays wrote:

“[Benjamin Klein’s] exhibition potently argues the case of another future for visual art, one radically open to fertilization by narrative and poetry, vision, philosophical reflection, feeling, and sensuous, embodied experience. … Klein’s artistic project itself is humane and wise. The work invites, and amply rewards, serious, deliberate attention of the sort that “hovers,” “noting mirrorings and correspondences, and not rushing to any conclusions.”

John Bentley Mays, “On certain paintings by Benjamin Klein” in Benjamin Klein: Generator, Centre des arts visuels Galerie McClure, Montréal, 2014, p.21

In the artist’s own words:

[…] In the most recent work, dislocations of space and perspective have become more pronounced, the cast of characters broader and more allusive, and the atmosphere more animistic and otherworldly. Previously the work was concerned to remain at least a potential representation of our world, but now has become something else. Freed to represent a magical, oneiric ecosystem, it has become an image of representation itself – which may or may not philosophically be the same as reality in the full sense. I have engaged with the notion of the afterlife or the spirit world; not the actual existent one (if it does exist) as we imagine it along cultural or personal lines, but a realized metaphor for it. To the extent that there is a difference between such a metaphor and such a reality, I paint a place where the mind or the soul, which themselves can be seen as metaphors to begin with, are the figures for which their content becomes the ground.

I want to catch – not capture, but catch – the moment/place when and where reality and fiction unravel and combine, when reality and unreality become and are the same thing, where the rules bend and finally break – a landscape that generates the uncanny sense that the viewer is both there, and has been there before – even though it is not a realistically possible place or occurrence. The characters I depict are like the paintings they inhabit – the paintings themselves are the major characters, and all the things depicted within can be seen as figures, i.e. trees, flowers and clouds are just as potentially “alive” as tortoises, cows, or bunnies. The whole painting is asked/made to function as an “eye” that sees the viewer metaphorically just as the viewer literally sees the painting, much like a dramatic character that breaches the fourth wall and speaks directly to the audience. […]

The Gallery thanks SODEC for its support.

– BK

Benjamin Klein was born in Chicago and grew up in Montreal. Klein’s landscape paintings depict a colourful, shadowy, and ambiguous nocturnal world of uncertain proportions and materiality. Shifting constantly in psychological as well as physical dimensions, his world is populated by anthropomorphized, animal-like characters that interact and metamorphose in fragmented scenes, fraught with semiotic and symbolic potential. He holds a BFA from Concordia University in Studio Arts, and an MFA from the University of Guelph. In 2010 he was a finalist in the RBC’s National Painting Competition. He has exhibited across Canada, in the USA, the UK and Germany.

For more images click here

John Latour: Therebefore and Hereafter

John Latour
Therebefore and Hereafter

Pierre-François Ouellette art contemporain is pleased to present Therebefore and Hereafter, a solo exhibition of work by Montreal artist John Latour.

An ongoing theme in Latour’s work is the idea of “the past”, and how our experience of it is mediated through objects, images and texts. More recently, the artist has looked to the history of spirit communications as a metaphor for dialoguing with the past.

The focal point of Therefore and Hereafter is the artist’s Psychic cabinet (2010) an interactive installation based on the tradition of spirit cabinets – enclosed spaces created from furniture and curtains that were used by mediums of the late 19th and early 20th centuries to focus their psychic powers before or during séances. The presentation of Psychic cabinet in downtown Toronto draws attention to the city’s long and sometimes complicated history with spirit communications. Toronto was the locus of at least three Spiritualist organizations at the turn of the 20th century (the Canadian Spiritualist Association, the Spiritualist National Union of Canada and the Toronto Spiritualist Association); although as Stan McMullin notes in his Anatomy of a Seance, mediums in Toronto (and elsewhere) at that time could be – and were prosecuted through the Canadian Criminal Code under the Witchcraft section of the Vagrancy Act.1

Latour also presents, in Therebefore and Hereafter, a selection of modified, vintage found photographs from a series he began in 2007. Unidentified persons posing in old snapshots are erased through flecks of white paint applied to the surface of the photographs. Their disappearance suggests the eventual fading of all subjects over time. In some of his most recent works from this series, currently on display at Centre Space, the artist has painted text on top of the photographs to create new meanings.

On the occasion of the opening, Latour’s newest artist’s book will be launched.
Re Fictions
(2018) represents a partial erasure (and re-telling) of his earlier collaborative publication Rétrofictions (2012) – where six authors (Jennifer Allen, Marina Endicott, Cynthia Imogen Hammond, Lea Nakonechny, Eduardo Ralickas and Jean-Éric Riopel) were invited to write short stories based on modified found photographs from his art practice.

Pierre-François Ouellette art contemporain and artist thank SODEC for its support.

1 Stan McMullin, Anatomy of a Seance: A History of Spirit Communications in Central Canada. McGill-Queen’s University Press, 2004, pp. 17-18.


John Latour has a BFA in Studio Art (University of Ottawa), a MLIS (McGill University) and a MA in Art History (Concordia University). Solo exhibitions of his work have been held in Alberta, Ontario and Quebec, and he has participated in group exhibitions in Canada and abroad. He has received artist grants from the Canada Council for the Arts, the Conseils des arts et des lettres du Québec and the Ontario Arts Council. His work is found in numerous private collections as well as the Hallmark Fine Art Collection (Kansas City), the Fine Art Collection of the City of Ottawa, and Le Méridien Versailles (Montreal).

For more images click here

Marie-Jeanne Musiol : Plant Cosmos

Marie-Jeanne Musiol
Plant Cosmos

Marie-Jeanne Musiol
Plant Cosmos
a CONTACT Photography Festival Featured Exhibition

Opening Saturday May 5th from 3 pm to 6 pm
Artist in attendance

In a featured exhibition for Contact 2018 at Centre Space (65 George St., Toronto), photographer Marie-Jeanne Musiol will show a series of new images highlighting the activity and the energy transfers occurring around plants. Captured on negative with their electromagnetic field, leaves pulsate and radiate in unexpected ways.

A video projection of the artist’s Luminous Fields was programmed last year in Toronto on the large TD Bank screen at the corner of Queen and Bay St. Leaves filmed in real time could be seen responding to various impulses and reacting to human interventions.

Conversely, the images of Plant Cosmos being shown at Centre Space are more closely related to photo stills, in their capacity to freeze energy patterns. In the continuity of works issued from her extensive “energy” herbarium, the artist probes the coronas of vines, geraniums and foxtails and examines their details. These reveal unexpected landscapes where energy and matter intermingle.

Marie-Jeanne Musiol has previously extracted elements reminiscent of cosmic formations. She presently uncovers immersive and non directional panoramas that speak to fluid boundaries between matter and light. The edges of leaves with their substance do not spell defined outer limits. They exist in a space where light and matter bring about form and physicality, or where matter dissolves into light. These various states operate in ways not apparent to the eye, yet fundamental in a universe populated by subquantum particles travelling freely between dimensions.

Several works of the exhibition are referenced indirectly in a book with 385 duotone illustrations, authored by the artist and just published in French by Les éditions Pierre-François Ouellette, La Forêt radieuse : un herbier énergétique (The Radiant Forest: An Energy Herbarium). The book will be available for consultation during the exhibition.

Both the exhibition and the book highlight questions of scale in the very small and the very big, indicative of fluid states of being.


Canopies and Heavens

February 24 – March 24, 2018

Mark Audette
Lise Beaudry
Glenda León
Edward Maloney

Opening Saturday February 24th from 3pm to 6pm
Artists in attendance: Marc Audette, Lise Beaudry, and Edward Maloney

Pierre-François Ouellette art contemporain at Centre-Space is pleased to present Canopies and Heavens, an exhibition featuring four collaborators of the gallery Glenda León, Marc Audette, Edward Maloney and Lise Beaudry. Through photography and video, the invited artists represent fleeting experiences in nature that are caught as the trees touch the sky.

Lise Beaudry is interested in photographing treetops at a specific time of year – when the trees themselves are almost completely stripped of their leaves, and set against a sky on the verge of snow. These personal and ephemeral vistas emerge during long car rides between Toronto and Earlton, the northern Ontario village where she grew up.

Edward Maloney’s Latitude series explores the relationship between travelling in a bus and the development of an abstracted vision of colour. His blurred and luminous landscapes are based on Polaroids taken by the artist while traveling in southern Quebec.

Marc Audette photographs skies as dusk falls. This interest has led him to travel all across the Americas. In his works, canopies of trees accentuate the ambient darkness of the forest landscape, and draw attention to the disappearing light in the night sky. The canopy itself, as the artist discovered, is a habitat rich in life and sounds.

Glenda León video Delirio II invites us to “listen to things and to watch sound.” What appears as a solitary tree within a landscape transforms in a vibrant and unexpected flash.

Canopies and Heavens brings together a diverse group of works that all reflect our own natural desire to catch, and to hold onto the transient in life.

The Gallery thanks SODEC for its support.

Marc Audette
Canopée 2 (2016)
63.5 x 91.5 cm (24″ x 36″)

Lise Beaudry
Tree Top 1 (2013)
inkjet print
76 x 59.5 cm (30″ x 23.5″)
edition of 5

Glenda León
Delirio II (2010)
single channel video, sound
1 min.
edition of 3, 2 A.P.

Edward Maloney
Latitude 003 (2016)
81 x 81 cm (32″ x 32″)
edition of 3

For more details click here


John Player

August 19 – September 9, 2017

Opening Saturday August 19th from 3pm to 6pm
Artist in attendance

What does it mean for an artist who has been preoccupied with landscape for the past five years to paint interiors? This body of work marks a shift in John Player’s methodology for a few reasons: he has come inside, to the realm of home and private life, and he has come closer, from disembodied aerial renderings of landscape to the deeply familiar scale of rooms and tents, things we measure with our bodies. He has also, for the first time, painted primarily from photographs he took himself, on a cycling trip through the Baltic states funded by the Brucebo Foundation.

Player, who has in the past taken up translating disposable images (stills from surveillance cameras, satellite views of landscape) to the seemingly more permanent medium of painting, is now rendering provisional domestic spaces whose precarity is a result of the same imperialism that he has been pointing at all along. This is his first exhibition that is comprised of more interiors than anything else, although most of the depicted spaces contain representations of landscape within them, in the form of faded posters or peeling wallpapered murals. Most of the interiors depict Skrunda-1, a former Soviet radar station in western Latvia, now a ghost town and, more recently, a burgeoning tourist attraction.[1]

In Recent Past 2, a swath of ripped wallpaper creates a confusion of surfaces within the logic of the picture plane. The eye hesitates between resting on the “real” depiction of a fragment of wallpaper, torn and hanging from a yellowed wall, and the space depicted in the wallpaper, a stream and some rocks amid slender tree trunks. The viewer understands that this is a representation of a representation, yet the temptation to see the forest as an alternate world beyond a dissolved surface isn’t easily shaken. It appears as though part of a blank wall has been peeled back to reveal a space has been willed into existence just beyond this bleak room in a military housing complex. There is pleasure in letting your focus slip beyond the logical surface that echoes the longing and nostalgia inherent in choosing to live with such depictions in the first place. 1994 depicts a different kind of desire for belonging—an adolescent’s longing for rebellion, for the twinned ideals of nihilism and hope, embodied by the Christ-like Kurt Cobain. Both the Recent Past series and 1994 point self-consciously at temporal markers. Depicting a last moment of the pre-internet era, these physical fragments of desire and escape suggest an alternate worldview, a fragile connective tissue between Russia and the West, one not visible on radar screens.

The images one chooses to live with reflect desire as well as cultural identity and taste; living with idealized representations of landscape may well be borne out of a desire for ownership over the land, the desire for connection and unity with the natural world exacerbated by a concurrent and increasing alienation from it. The romantic vistas featured on the walls of Skrunda’s apartment blocks expose a desire for the organic and the eternal, a fantasy of culture falling away. Yet the fact of their production and circulation also reveals depictions of land as emblematic of national identity, which became conflated with individual longing. Svetlana Boym wrote that “nostalgia is about the relationship between individual biography and the biography of groups and nation, between personal and collective memory.” And with Decommissioned, Player comes a little closer to revealing his own conflation of the personal and the collective. Painted from a photo found in a military archive of the Pinetree Line radar stations, the image could just as easily have come from Player’s family slide collection (his maternal grandfather worked for NORAD[2]). Most of the images in this archive sit uncomfortably on the border between official document and vernacular snapshot. Decommissioned depicts a ceremonial cake that is modeled after a radome; we aren’t quite sure if it is official military history, or an idiomatic record of a whimsical dessert.

If Player often chooses imagery that signals desire for control and ownership of the land, as well as nationhood and belonging, what does it mean for him to depict landscapes reproduced on wallpaper, or military equipment in the form of a cake? Spaces like Skrunda both clarify and complicate the connections between dwelling, representation, and socio-political conditions. Player’s work has been focused on geopolitics for several years now, but these depictions of domestic interiors point to a different facet of the relationship between land and power. The desire to master nature and control territory appears more innocuous (eerily so) in these feminized forms and environments.

Is this painting of a cake enough to say there has been a biographical turn in Player’s work? His previous work investigated the aesthetics of power by equating cool detachment with the capacity to obliterate, suppress, appropriate, and seize. After depicting images that were at once official and disposable, it’s as though he is now curious about the inverse—vernacular images authored by bodies, and real, visitable places that are both more tangible and less official. After so long dealing with ciphers, Player is now looking to remnants of material culture to try to bridge aesthetics of power and militarism to the lived and embodied experiences of individuals.

– Lise Latreille (08-2017)

[1] The trip through the Baltic states was funded by the Brucebo Foundation, Sweeden.
[2] North American Aerospace Defense Command

To view all the images of the show, click here

John Player was born in Victoria, BC in 1983. He holds a BFA in Studio Arts and a MFA in Painting and Drawing from Concordia University. He has participated in various group exhibitions in Montreal, where he has worked and lived since 2004. John was part of the Baie St-Paul Symposium in 2015 and of the Art Omi (NY) residency programme. In 2016, he was awarded the William Blair Bruce Travel Scholarship to undertake research cycling through former Soviet Republics. Finalist of the RBC Painting Competition in 2015, his work can found in numerous private collections and in the corporate collections of Groupe Courchesne Larose and BMO Financial Group.

– John Player’s web site.
– John Player’s artist page on the gallery website.
– Bill Clarke, ” STUDIO VIEW : John Player “, Magenta Foundation

The Gallery thanks SODEC for its support.

John Player
Shelter, 2016
Oil on canvas
83.8 x 1106.7 cm (33″ x 42″)

John Player
1994, 2016
Oil on canvas
76.2 x 83.8 cm (30″ x 33″)

Top image: Backdrop, 2016, 83.8 x 106.7 cm (33″ x 42″)

Dana Velan / Jérôme Fortin

June 3 – 30, 2017

Opening Saturday June 3 from 3 to 6 pm
Dana Velan in attendance

Pierre-François Ouellette art contemporain is proud to present concurrently two bodies of work by Dana Velan and Jérôme Fortin.

Dana Velan, an artist living and working in Montreal, Canada, left her native Czecho-Slovakia during the political turmoil of 1968. She earned a degree in Art History at McGill University and a degree in Fine Arts at Concordia University in Montreal, and her MFA at the Art Institute of Boston at Lesley University, Boston, Massachusets. Velan’s artistic practice is formed by the perception of nature as a site of transformation. The creation of her new series of drawings titled Nebulae of large scale (90″x126″, and oil sticks on Mylar medium), involved a close observation of numerous astronomical photographs depicting nebulas, such as the Eagle, the Orion and the Crab nebulas. These images were used as a starting point to craft free interpretations. Giving the impression that these images could spread infinitely outside of the frames, these drawings when presented together in an exhibition space, envelop the visitors in a universe filled with the movement, energy, darkness and light, and encourage us to reflect on our own inner landscape. Blending together inner and external landscapes without giving the coordinate system leaves the images open to a number of unknown meditations.

Tabula rasa forges new paths while retaining the fundamental elements of well known Quebec artist Jérôme Fortin’s artistic vision: repetition, paper work, recycling and variations on a theme. Tabula rasa is a collection of unique works created from an assemblage of lithographic fragments. Folded, patterned paper served as the printing matrix. Rhythmic and dynamic, the collages give further expression to Fortin’s persistent fascination with repetition while marking a departure from the linearity of his earlier works. In Tabula rasa, the artist injects new life into his plastic language by highlighting diagonal trajectories and placing an emphasis on engraving rather than daily objects. Here, it is his works that he transforms, recycles, and reinvents. The formal elements of Tabula rasa explore the play between disruption and continuity. Each of the works deftly marries the sharp contrasts between the lithographic fragments with subtle transitions. Varying shades of grey illuminate some sections while obscuring or even erasing others. The juxtaposition of lithographic fragments creates lines and forms, each providing a unique spark that invigorates the composition. Patterns collide and blend over this vertical wavescape, inviting the eye to wander from one zone to another.

Top image: Dana Velan, Echo Nebula
Bottom image: Jérôme Fortin, Tabula rasa

Maskull Lasserre – Omen

April 29 – May 27, 2017

Opening Saturday April 29th from 3 pm to 6 pm
Artist in attendance

The stillness of inanimate matter and the silence of motionless surfaces are not the true condition of objects. Stasis, in fact, is not an attribute of the things we hurry past in our daily lives but rather an inherent artifact of the human timeframe.

The objects in Omen are ensnared by the threshold of stillness and motion. They have just moved or are just about to. Each work carries a burden of potential inherited from its material lineage of forest, or ore, and from human interventions of intent, worry and hope. This burden is delivered to the viewer not in physical weight or material worth, but through the silent charge that propels any purpose to its fulfilment; through the taut spring of expectation that is left to uncoil within the viewer’s skull.

– ML

Maskull Lasserre (born 1978) spent his formative years in South Africa before returning to Canada. He has a BFA in Visual Art and Philosophy from Mount Allison University, and an MFA in Studio Art from Concordia University.

Maskull’s work has been exhibited at Banksy’s Dismaland, and at the Museum of Art and Design in New York. He has held visiting artist positions at the Broad Institute of MIT and Harvard, at Kohler Art/Industry and with the Canadian Armed Forces. His work appears on Canadian coinage and is represented in collections in Canada, the US, and Europe including those of the Montreal Museum of Fine Art and the Canadian War Museum. He has taught sessionally at Concordia, York, and Emily Carr Universities, as well as at the California College of Art.

Maskull’s drawings and sculptures explore the unexpected potential of the everyday by inducing strangeness in the familiar, and provoking uncertainty in the expected. Each work is developed as a model to mediate the translation of experience between matter and mind.

4000lb cast iron birds
variable dimensions
HD video documentation
(Courtesy John Michael Kohler Art Centre)

shoe forms, steel trap
30 x 30 x 32 cm. (12” x 12” x 13”)

Image at top: Omen, 2015, 4000lb cast iron birds, variable dimensions, HD video documentation (Courtesy John Michael Kohler Art Centre)