Working in chalk, charcoal, pastel, felt pen and other mark making materials, Alison Norlen creates highly complex scenes of imaginative historically significant buildings and awe inspiring objects. Using painterly techniques combined with a draughtsman-like precision in her depiction of architectural relics and structures, Norlen creates layer upon layer of dream-like illusion, placing the viewer up close with what looks like a work in progress.
Her large-scale and highly detailed drawing, Glimmer (Zeppelin) transforms the reality of a zeppelin under construction within its assembly studio. Step back, view this drawing from a distance, and ponder the potential for one of the great popular fantasies in design and air travel for 20th and 21st century modernist life.
Rolling Thunder (Night for Day)
The metropolis has long been the primary source of inspiration for Susanna Heller. Often navigating her surroundings from a variety of elevated perspectives, including bridges, skyscrapers, tunnels and scaffolding she combines scale with roiling forms to succeed in making us, the viewer, feel her landscapes. Rolling Thunder (Night for Day) is a classic example of her bird’s-eye view perspective on a densely populated, highly dramatic urban space.
In 1998, Susanna was invited to work from a studio space on the 91st Floor of the former World Trade Center Tower in New York City, resulting in an unparalleled view of the energy, excitement and overall chaos of the city below. In the days after the disastrous 9/11 attacks, she returned to that site to begin a process of drawing and documentation, which eventually led to a new and ongoing series of paintings addressing the themes of absence, fragility and destruction.
The large-scale Calgary Letter perspectively moves with you and the changing light in the space as you descent or ascend the escalator.
Over the last four decades Morris has considered site-specific paintings as letters or a city (Rome, London, etc.). They are meditative and abstract, and highly experiential paintings in which vertical slivers of mirror or neon are embedded.
The surface of the panting provides visual impressions with respect to the natural and artificial light in the building’s lobby that change from dusk to dawn.
Stephane La Rue
Variation pour Mouvement No. 7
Stéphane La Rue focuses on the investigation of visual phenomena linked to colour and light; his work approaches the foundations of minimalism and the history of the monochrome.
Variation pour Mouvement No. 7, is a poetic and musically rhythmic multi-part presentation.
The viewer many interpret the framed red marks as gestures in motion. They appear to hover over support surfaces of folded paper, collectively operating as inflections in a musical score.
The red gestural marks may refer to methods of playing or the silence of the anticipated moment before or after the hand strikes the piano key.
Eleanor Bond’s paintings take subject matter to a different level of abstraction to stimulate perception.
The ironic titles, futuristic overtones, cinematic scale and multiple sightlines suggest a lifting off for viewers.
Happy Town is a vibrant painting comprised of stripes of solid colour and washes of stain on unstretched canvas. The painting hangs like a tapestry. It’s something of a proposition and form of meditation on dynamic change, especially in urban centres.
Subtle Changes and an Affirmative Thought
São Paulo, Brazil-based Paulo Whitaker is associated with a self-reflective form of abstract painting.
His paintings feature a series of subjective expressions and freely improvised compositions. His sense of line, the primary motion to be observed, is consistent form of “text” within the painting.
One or more curvilinear, stencilled forms are suspended against the space of the generally monochromatic backgrounds.
Unttled, from the 24 Hours Series
In the early 1980s, Bill Eakin started staging and photographing miniature tableaux of little found objects. Despite initial appearances, the work is about neither nostalgia nor kitsch, his interest is to recover something of their original intention while reinterpreting them as art.
With respect to these works from the 24 Hours Series, Eakin has remarked:
“ Simply put, I was looking for insight into the idea of solar time through the medium of photography. Traditional photographs depict a moment of time whit an implied before and after. My intent was to create an image/illusion in which I could be able to compress all time.”
Untitled (Points Noirs 1)
Underlying the paintings of Jacques Marchand is a search for simplicity and integration; natural elements are chosen as allies.
Their expressive qualities such as reflection, grain, transparency, and chemistry work in harmony with Marchand’s intuition, like poems strung out in the wind or floating endlessly down a slow moving river.
Look carefully: sand is mixed in a light wash of acrylic colours and pure pigment from top to bottom of his drum-taut canvas, and the viewer is offered a newly ordered universe.
Large Sacra Conversazione Painting - Versione Follia
Sacra Conversazione Painting – Versione Follia is a large three-dimensional sculptural painting.
It is a prime example of the artist’s interest in traditional religious artworks of the Renaissance in combination with contemporary materials.
The paint process used here is one developed by Rolls Royce early in the 20th century and based on the techniques of Chinese Lacquer.
And the colours chosen are distilled from Renaissance paintings that hung above church altars.
Eckart links contemporary painting with historical and transcendental themes.
Logan explores the intersections between memory and place in an elaborate drawing in varying shades of blue pencils and pastels.
Employing a strategy of visual quotation, Logan re-imagines nature by juxtaposing diverse plant species, none of which actually occur together in Nature.
It is a largely artificial landscape of insects and DNA modified plants.
Bluing employs both empirical explorations of landscape and overlapping stylistic motifs borrowed from art history.