Jordan MacLachlan

June 12th, 2015

Jordan MacLachlan

Ways To Live: Condo Living, Unexpected Subway Living, Zoo Living

July 5 – September 6, 2015
Reception: July 5th, 2 – 5 pm

The Canadian Clay & Glass Gallery
25 Caroline Street North, Waterloo ON, N2L 2Y5
Hours: Mon – Fri: 11 am – 6 pm  | Sat: 10 am – 5 pm  | Sun: 1 – 5 pm
T 519 746 1882
theclayandglass.ca

This exhibition is part of
People Together / Worlds Apart, curated by Christian Bernard Singer

Artist Statement:
Ways to Live figures three familiar models of living. While their environments intersect and overlap,each one remains distinct. And yet I’ve come to think of these as symptoms of a greater whole.
Our dealings with animals, and our sometimes animal-dealings with one another, form a complicated and continuous story that evades logic, and carries hurt. It’s a narrative that is, oftentimes, violent and opaque.

Lending image to this requires a certain unflinching, on my part, as well as the balancing desire to convey an unshakeable resilience in my subjects – the sensation of a radiant “alive-ness,” as though someone were home inside each piece. In showing the worst, I hope to show the best more vibrantly, as though triumphant.

I get this sense when looking at Inuit art or Haida masks, both influencing subjects and aesthetics for my sculptural practice. The sacred, in these things, something holy and ineffable, carries the difficult, slightly terrorizing quality of the sublime.

I have placed some of my daughter’s childhood clay sculptures in amongst Ways to Live. They agitate as tiny, benevolent rifts, and perform less as contrasts than reminders of our infallible vitality, in spite of immense hardship.

I did ask myself, why not make this one large installation rather than separating the works into three different environments, Zoo Living, Condo Living, and Unexpected Subway Living? But we inhabit various and fractured states. Where we live informs how we live, our environments inflecting our actions, however base or benign.

Unexpected Subway Living imagines a catastrophe that finds both humans and beasts co-habiting in a provisional, underground state of abject distress. This is a frightening and challenging place, where nightmares and dreams proliferate and collide. This is, on some level, a paradigm for a reality we’ve come to know.

Condo Living is a peephole into what might be, and should be, a much gentler place to reside and thrive. But it’s not without its dejected moments, its profound isolation, and quiet longing.

Zoo living is the most constructed and unnatural of the living spaces and likely the most dependent on the spirit’s activation. The people here get to come and go, while the animals are held in place. But the mirroring between these subjects – the seeming agency of the people’s position, the restrained wildness of the animals’ nature – correspond and grow confused. We emit so much undisciplined stuff in our bounded lives – things that are crude and harmful, sharp and untoward. Our mammalian counterparts seem to know stillness in ways we have yet to master. And so at the zoo, we look in, we speculate and sometimes mock; but we should be straining to take our cues.

Jordan MacLachlan is represented by ArtBarrage
For more information or sales, please contact walter@artbarrage.com
Artist website: jordanmaclachlan.com

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Ways To Live
Ways to Live figures three familiar models of living. While their environments intersect and overlap,each one remains distinct. And yet I’ve come to think of these as symptoms of a greater whole.
Our dealings with animals, and our sometimes animal-dealings with one another, form a complicated and continuous story that evades logic, and carries hurt. It’s a narrative that is, oftentimes, violent and opaque.
Lending image to this requires a certain unflinching, on my part, as well as the balancing desire to convey an unshakeable resilience in my subjects – the sensation of a radiant “alive-ness,” as though someone were home inside each piece. In showing the worst, I hope to show the best more vibrantly, as though triumphant.
I get this sense when looking at Inuit art or Haida masks, both influencing subjects and aesthetics for my sculptural practice. The sacred, in these things, something holy and ineffable, carries the difficult, slightly terrorizing quality of the sublime.
I have placed some of my daughter’s childhood clay sculptures in amongst Ways to Live. They agitate as tiny, benevolent rifts, and perform less as contrasts than reminders of our infallible vitality, in spite of immense hardship.
I did ask myself, why not make this one large installation rather than separating the works into three different environments, Zoo Living, Condo Living, and Unexpected Subway Living? But we inhabit various and fractured states. Where we live informs how we live, our environments inflecting our
actions, however base or benign.
Unexpected Subway Living imagines a catastrophe that finds both humans and beasts co-habiting in a provisional, underground state of abject distress. This is a frightening and challenging place, where nightmares and dreams proliferate and collide. This is, on some level, a paradigm for a reality we’ve come to know.
Condo Living is a peephole into what might be, and should be, a much gentler place to reside and thrive. But it’s not without its dejected moments, its profound isolation, and quiet longing.
Zoo living is the most constructed and unnatural of the living spaces and likely the most dependent on the spirit’s activation. The people here get to come and go, while the animals are held in place. But the mirroring between these subjects – the seeming agency of the people’s position, the restrained wildness of the animals’ nature – correspond and grow confused. We emit so much undisciplined stuff in our bounded lives – things that are crude and harmful, sharp and untoward. Our mammalian counterparts seem to know stillness in ways we have yet to master. And so at the zoo, we look in, we speculate and sometimes mock; but we should be straining to take our cues.

Lens Krafter

June 12th, 2015

a publication featuring the photo based work of Kelly McCray


Book Launch:
June 25, 5pm-8pm
Location: Stephen Bulger Gallery, 1026 Queen St W, Toronto, T 416 504 -0575, E info@bulgergallery.com

The Lens Krafter publication contains select images from five bodies of photo-based work that have been produced since the early 1990’s. The photographs include images from The Body Mystery, 1995 – 2002, The Gnawts Project, 1995 – 2002, The Ken Portraits, 2003, Undergrowth, 2012 and Steam Environs, 2013 – 2015. The lay-flat book design provides flush mount pages with photo images printed on silver halide photo paper, providing a true representation of the original photographs.

The link below shares the content of the book.
http://www.asovx.com/upload/Preview?projectId=cFnsIZH1Mp8%3D&webClientId=1

Pricing:

Lens Krafter
Limited edition book with Blue linen cover

8″ x 6″ (edition of 100)
$250 (Launch Price, tax included)
$300 + HST (Retail Price after Launch)

11″ x 8″ (edition of 20)
$500 (Launch Price, tax included)
$600 + HST (Retail Price after Launch)

14″ x 11″ (edition of 10)
$800 (Launch Price, tax included)
$900 + HST (Retail Price after Launch)

Orders can be placed by visiting or phoning the gallery at 416 504-0575

Bio
Over the past twenty-five years, Kelly McCray’s photo-based work/videos have been exhibited at museums, artist-run-centres, and film festivals in Canada and Europe. In addition to receiving various project grants, in 2003 he was awarded a Pollock-Krasner for his Gnawts project. In 2013, he co-curated the Rare & Raw show for the Leslie & Lohman museum in New York. His previous curatorial shows at Edward Day Gallery include Flash, Obsession and Urtopia. He is co-founder of ArtBarrage.com, Bank on Art and currently consults with artists and businesses through the Your Art Our Business service

Artist Statement
Whether photographing with disposable cameras, Apple iPhone cameras, video cameras, or underwater digital cameras, Kelly McCray has been devoted to capturing an ephemeral state of nature or the fragile condition of human kind.  The ongoing challenge to seize the unseen, to caress the edge of darkness or the fleeting spirit of scorched condensation through a lens have required the need for experimental processes and a passion for accidental spontaneity.

Print Prices
Each print in an Edition of 9

Early steam images,
1995/2002 Archival digital prints
30” x 20” (unframed – paper size)                     $1200 + tax
36” x 24” (unframed – paper size)                     $1800 + tax
48” x 36” (unframed – paper size)                     $2400 + tax


Gnawts Body,
2001 Archival giclee prints
24” x 22” (unframed – paper size)                         $950 + tax


Ken Portraits,
2003                                 Archival digital prints
30” x 20” (unframed – paper size)                     $1200 + tax
36” x 24” (unframed – paper size)                     $1800 + tax
48” x 36” (unframed – paper size)                     $2400 + tax

Ken Portrait #9, AB promo image

Ken Portrait #9, 2003, 4′ x 3′


Art With Heart: Artist Multiple + Online Auction

September 3rd, 2013

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BUY HERE …………………………………………………………………………………………………………BID NOW

ArtBarrage is proud to host the Artist Multiple by Jaime Angelopoulos and a special Online Auction by Aurel Schmidt for this year’s Art with Heart fundraiser. All proceeds go to Casey House, Toronto’s HIV/AIDS hospital.

ARTIST MULTIPLE:

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Jaime Angelopoulos
Will the Tail Off (2013)
apoxie sculpt, paint, flocking, fabric, wood
12” x 6” x 4”

Limited Edition of 75

Courtesy of Parisian Laundry

Price: $150    BUY HERE

Artist Statement:
The multiple “Will the Tail Off” is a miniature version of Angelopoulos’ most recent life-size sculpture. At nearly 1/7 of the original scale, this multiple is created in three alternate color versions. This sculpture, as in previous works, explores abstraction, form and material to communicate a particular human quality and presence. The artist articulates, “I was considering the expression “Working your tail off” to suggest a loss of one’s humanity in the pursuit of success (i.e. wealth, stature or excellence)”. The sculpture is essentially a “stick figure” standing vertically in orientation, at its tallest point a colored flag protrudes. A curled fuzzy tail anchors this sculpture at its bottom, and a change in color and texture signify a transition from tail (animal) to vertically (human) to flag (success).

Artist Bio:
Jaime Angelopoulos received her MFA from York University (Toronto), and BFA from NSCAD University (Halifax). She additionally completed Post Baccalaureate Studies at Southern Methodist University (Dallas, TX) and an artist residency at The Banff Center for the Arts (Alberta). She has exhibited her works internationally in Australia and Texas as well as across Canada, at the Museum of Contemporary Canadian Art, with selected solo exhibitions at YYZ Artist Outlet (Toronto), Parisian Laundry (Montreal), and Stride Gallery (Calgary). She was the winner of the inaugural Hazelton Sculpture Prize held in Toronto, additionally her works can be found in the collections of the Bank of Montreal, York University, Norton Rose, Hazelton Hotel, ALDO Group, Claridge Collection, as well as private collections. Angelopoulos is based in Toronto and represented by Parisian Laundry in Montreal.


ONLINE AUCTION:

Aurel Schmidt

Aurel Schmidt
Count the Crows (2012)
archival inkjet on paper, framed
13.5″ x 12″

AP, 1/3

Sold out edition of 50

Donated by: the artist

Starting bid: $250   BID NOW

Estimate: $ 1,000

For more information please call 416-962-4040 ext 232.


EVENT DETAILS:

20th Annual Art with Heart

Canada’s premier charity auction of contemporary art
Exciting curated collection of emerging & established artists

Raising funds for Casey House, Toronto’s HIV/AIDS hospital

Tuesday, October 8, 2013 at The Carlu

Tickets $175 at www.artwithheart.ca or 416.962.4040 ext. 238

About Casey House – Founded 25 years ago as the first dedicated HIV/AIDS health care facility in Canada, Casey House is a specialty HIV/AIDS hospital with community programs including home nursing care and outreach. Our commitment is to provide compassionate health care for people living with and affected by HIV/AIDS, in collaboration with our communities. www.caseyhouse.com

Your Art, Our Business

July 4th, 2013

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Career Advise

Whether you are an emerging artist introducing yourself to the local community or a mid-career/senior artist wanting to promote and sell your work to art collectors and curators, we will provide ideas and guidelines to achieve the desired results.

Through our extensive experience in the commercial and public gallery system, our knowledge is your gain. The list of professional engagements from the ArtBarrage team include Canadian and international museums such as the Art Gallery of Ontario (AGO), The Power Plant, Museum of Contemporary Canadian Art (MOCCA), Canadian Artist–Run Centres and collectives such as Mercer Union and YYZ, commercial galleries such as the Edward Day Gallery, de luca fine art, and national and international art fairs such as Art Toronto, ARCO Madrid, Chicago Art Fair and various New York art fairs.

Portfolio Reviews/Studio visits

Whether through digital images or local studio visits, we will assist with the selection of your work for approaching commercial galleries, public museums or granting bodies.

Presenting your strongest works and editing the order and quantity is key. We will Conduct one-on-one studio visits to help contextualize your artist statement and select pieces that best convey the body of work you want to present to curators, dealers and collectors.

Art Documentation

In today’s digital world, high quality images of your artwork are essential in order to compete with the inundation of images we see on a daily basis. Most people will view your art in the form of a digital reproduction online, in a power point presentation, at a grant jury or published in print. We encourage artists to spend extra attention to the documentation of their work.

With 20 years of experience we offer professional photo documentation of artworks in all mediums. Artists can bring their work to the ArtBarrage office or we can come to the artist’s studio to photograph on location. All photography will be done digitally and you will get to see the result instantly on screen. Adjustments can be made on the spot to ensure the quality of the reproduction. All photographs are shot on a 36mp camera offering high resolution reproductions in both uncompressed TIFF and high quality JPEG formats.

We also offer 4”x5” film reproductions on special requests.

Samples:

MOCCA – Photography and web design by Walter Willems (ArtBarrage)

http://mocca.idomyownstunts.org

Press and Promotion

A key element to marketing and promoting your work to the art community and beyond is approaching press and media that best fit the nature of the work and the target audience of each media outlet.

Through art publications, magazines, independent media outlets, blogs and social media outreach, we will assist you to refine and contextualize your press release and ensure that your exhibition or art project receives the promotional outreach it deserves.

Grant Writing/Artist Statements

Based on your rough ideas and/or discussions during studio visits, we will help formulate your concepts so that they are conveyed in a direct, concise manner, which describes the essence of the work.

We will provide an experienced outside perspective that will take into account your artist statement, budget, quality of images, order of images and support material in preparation for local, provincial, federal or international artist grants.

For more information or quotes, please contact Kelly McCray and Walter Willems at info@artbarrage.com

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BANK on ART is looking for new ATM locations across Canada.

June 25th, 2013

BANK on ART

Bank on Art features contemporary art on ATM screens of functioning bank machines. With over 200 artists participating, Bank on Art is looking to expand seeking new ATM locations across Canada.

Each month six artists are showcased on an ATM in-between transactions. The images rotate continuously on the ATM screen until a debit or credit card is inserted. The ATM completes the transaction and the images reappear.

Bankonart.net is the accompanying website that features information about each participating artist, including the image that is featured on the ATM, a short bio and up to 3 links to gallery and/or personal websites. In the past artists have garnished exhibitions and sales from being featured on Bank on Art.

To qualify for Bank on Art, an ATM requires a colour display and an internet connection. Bank on Art is partnering with an ATM distributor, so if the location doesn’t have an ATM, we can provide one. We can also work with existing ATM operators at any location.

If you are interested in installing a Bank on Art ATM or considering adding Bank on Art on your existing ATM, please contact:
Kelly McCray or Walter Willems
T 647 895 3374
info@bankonart.net
bankonart.net

Watch a short video about BANK on ART here:

BoA_2013-06-05