Tuesday, March 12, 2019

Galery 1313 Window Box Gallery Parable of the Talents

Parable of the Talents
Stephan Goslinski
Curated by Carpos Collective
Opens March 13 for the month in the Window Box Gallery, Gallery 1313, 1313 Queen Street West, Toronto. Wed-Sat 1-6 pm.

‘Talent’ as an idea has fallen from its pedestal in recent years, I think for good reason. When we praise talent, we often abstract the hundreds of hours of discipline that it took to learn how to create well, making the talented one an other in our eyes—something beyond our reach, at once prized and privileged. In my experience, this view of talent leads only to apathy and jealousy. The humility of discipline tempers both of these, and breaks the distance between apathy and excellence into discrete units of hard work, measured in days and hours, sweat and tears.
However, just as I don’t believe in talent as a miracle cure, I don’t believe in discipline as internal combustion. Both of them come from somewhere; there is something that plants a seed and something that encourages us to water it. 
As its name suggests, this piece is concerned primarily with talent, but at its heart, it’s just as much about redemption. The crops will fail. The glass will break. The pen will run dry. In spite of it all, he who started a good work will bring it to its completion. Art is the privilege of helping to pick up the pieces.

Monday, January 14, 2019

Talking Wellness OCAD U! CWSE Gallery

Talking Wellness OCAD U!
Exhibition Jan 30-April 1 2019
2nd Floor OISE 
252 Bloor Street West, Toronto.

Art and Design Education (ADEL): Community at OCAD University have been investigating various concerns around how we might achieve a healthier art and design education community at OCAD U. We have taken this up through personal observation and in conversation with the staff at the Health and Wellness Centre. Our intention was not to suggest definitive policy changes nor do a rigourous quantitative research but rather to explore, as artists, through personal discovery and dialogue, what we might envision as an ideal – or even imaginary – healthy community for those who study, teach and work in art and design at OCAD U. This exhibition presents creative voices in dialogic as they imagine a healthy thriving community for OCAD U.
Artists/Researchers: Jerad Beauregard, Rhys Castro, Tara Clews, Tania Costa, Hana Elmisry, Zen Huang, Cori Jin, Nataly Kais, Angie Ma, Kaylee Meyer, Kais Padamshi, Cleopatria Peterson, Ariella Polisuk, Sam Young
Project Co-facilitators: Tal Sofia Braniss, Marta Chudolinska, Pam Patterson, and Robyn Shaw.

Thank you to Vladimir Spicanovic, Dean, FoA for providing assistance for mounting this exhibition, Marta Chudolinska, facilitator and provocateur extraordinaire and the Learning Zone for encouragement and direction, and Amanda Hotrum and Cathy Cappon, ODESI, for resources and support.

A special thank you to the Health and Wellness Centre (HWC) OCAD U for partnering with ADEL artists/researchers: Robyn Shaw, for taking on the role of one of the project facilitators who, with Courtney Ward, Nathan Klaehn, Alanna Fletcher, Tamara Aleong, Alex McLaren, Sarah Cree, Kaitlyn Young, met in many one-on-one conversations with students, and to the HWC administrator, Gloria Han for co-ordinating all these meetings. 

Miguel Caba's Repetition 3740

Miguel Caba 's Repetition 3740 
Opens in the Window Box Gallery Jan 15 and runs until Jan 31.
Gallery 1313, 1313 Queen Street West, Toronto.
Curated by Carpos Collective 
An act as simple as painting a square more than 3000 times is a metaphor to describe the patterns within our lives. Repetition 3740 blurs the lines of perceived action.  Influenced by clothing manufacturing (hand dying the fabric and stitching over multiple days), the creation of this work both degraded my mental processing and built skill within the specific crafts.  By simplifying specific iterative motions, a once underappreciated job is identified by repetitive motion. A scientist testing drug samples that utilities a repeated pattern of motion is prestigious compared to a garment worker that can sew jeans yet they are essentially the same. Our biological limitations determine that we use the same motions in everything we do. Understanding the limitations of human motion allow the deconstruction of specific subjects and transformation of their value from clear to vague. Repetition 3740 uses humans to create a very human infinity.

Friday, November 9, 2018

Window Box: Pamela Dodds – Swimmers

Pamela Dodds’ practice explores the complexities of human relationships, drawing from a lesbian, feminist sensibility that embraces and explores the inter-connectedness of humanity across time and space, with a focus on women and women’s agency as a core perspective. In relief print media of linocut and woodcut, she employs the gesture of the human form, mirrored or counterpointed within an expressive environment, to describe complex and layered moments and encounters. In her recent installations of Undertow – tall scroll-like prints evoking swimmers in the ocean – viewers are encouraged to walk among the prints.
For the Window Box Gallery at Gallery 1313 she has created a version of her ocean-inspired woodcut print installations.
Pamela Dodds’s work is exhibited regularly in Canada and USA. Reviews include Globe and Mail, Art New England and Boston Globe. Her work resides in collections such as Cleveland Museum of Art, Purdue University, Boston Public Library, Carleton University, and many private collections. Visual Arts Centre of Clarington, ON presented Come Closer, a survey of her work in print (2017). The Undertow suite was featured in a solo exhibition at Impact 10, International Multidisciplinary Printmaking Conference in Santander, Spain in September, 2018
Image:  Swimmers  
Illuminated night view 
Natural wood grain patterns printed from plywood boards onto clear acetate and hung in layers; suspended figures cut from brass and copper foil.
Window Dimensions: 66x25x22 in. / 168x64x56 cm

Monday, September 24, 2018

Sunday, September 2, 2018

Curious Glimmers with Julia Louise Pereira & Carpos Collective

CWSE Hallway Gallery, OISE
252 Bloor Street West, 2nd Floor
Opening: Tues. Sept. 18, 2018, 5.30PM - 7PM and running until Jan 1, 2019.

Many of us are curious about the unknown, wonder about all that glimmers in the firelight. Something magical preys on those of us who have wandering minds. This is the place of folklore.

I’ve been fascinated with monsters and magic since I was a young child, as most of us are, but I did not grow up and away from this fairy-tale mind. If anything, I grew more deeply committed to the “enchanted” story as a writer, an illustrator, and a translator of the emotions and thoughts.

The satyr, once a lustful, male-dominated mythical creature, is now a wistful spirit who is unregulated by common understandings. She is air.
“A child of nature, pure, tame and fearless, but with the brutal instincts necessary to enable [her] to defend [her]self against threats.”

The selkie, usually a hapless maiden of the sea who is coerced into being a bride, now has agency and inspires awe. “Indeed to see a bevy of these lovely creatures, their seal skins doffed disporting themselves on a sea-side rock was enough to fire with admiration the coldest heart.” She is water.

The dryad, depicted mostly as an object of sexualization in classic media, can now live freely and without the restraints of preconceived notions. She is earth. “Long indeed do they live, eating ambrosia and treading the lovely dance among the immortals.” She is air.

I removed the hypersexualization that plagues these classic stories and gave them room to breathe, space to become all of the things little girls wish they could be. Each one of these creatures, the dryad (modeled by Shirls Shuning), the satyr (modeled by Joyce Jodie Kim) and the selkie (modeled by me), became the embodiment of these reworked ideas and dreams.

This series was born as a semi-collaborative piece for my art collective Carpos Collective’s debut show. Using reference images that we took of ourselves, these posters became modeled after my co-founders and me. The screen-printed versions of the illustrations are a labour of love among the three of us. We worked as a unit in my makeshift studio to print 90+ copies of the art. Inspired by my work, and the folktales that captured their hearts, Shirls and Joyce have created art in response which is also presented at this exhibition.

I hope to work like this more in the future, incorporating the magic of a good story, the curiosity of strange legends, and glimmers of hope and love, into every piece I create.

Friday, July 27, 2018

Tiny Homes: Everyone Is Downsizing, WIAprojects@1313/The Window Box Gallery

ARTIFACTS (Pam Patterson & Leena Raudvee) ever cognizant of gender politics and cultural mores, engages in deconstructing various contemporary societal issues by exploring women’s bodies across speculative edges and in liminal spaces. Here, in Tiny Homes, ARTIFACTS playfully references the contemporary tiny homes movement but here the “homes” are uninhabitable. The installation speaks to real (and oftimes painful) issues for many of Toronto’s seniors: the lack of accessible affordable housing and the fear of losing, and the need to discard, a lifetime of belongings.

The Window Box Gallery is open during Gallery 1313 hours - Wednesday – Sunday, 1:00 pm – 6:00 pm , 1313 Queen Street West Toronto, ON. 

Tiny Homes opens August 1 and runs until Sept 30 2018.