Isabell Spengler, Two Days at the Falls

Opening Reception: September 28th, 8:30PM

On Display: September 29 & 30, 9am-6pm, October 1, 11am – 9pm

Isabell Spengler | Germany

Two Days at the Falls

Looped Video Installation

In Two Days at the Falls, Isabell Spengler juxtaposes two identical 360-degree pan shots of the iconic Niagara Falls in a double projection. One of the shots was filmed when Spengler visited the falls for the first time and found them partially frozen. The other was made before her trip in a three-dimensional model that Spengler built in her studio and that represents a distillation of all the ideas and ascriptions from illustrations, texts, interviews, films and digital replicas that have contributed to her personal image of the place. In her juxtaposition of video images of the fictive and real Niagara Falls, Isabell Spengler examines the interaction between reality and imagination, between popular culture and private perception and between the monumental and the everyday in the context of the present ubiquity of media technologies.

Commissioned by the Goethe-Institut Toronto & Images Festival Toronto & Trinity Square Video Toronto as part of the European Media Art Network Exchange with Australia and Canada 2015. Supported by the Culture Programme 2013 of the European Commission and the Goethe-Institut.

Presented in partnership with WNDX.

 

 

Aliana Au, Works on Paper

Aliana Au

Works on Paper

 

OPENING NIGHT: SEPTEMBER 2, 2016, 7:00PM
EXHIBIT: SEPT 2 - 27, 2016

 

" In my grandfather's house, clothes were frequently left in such a way that the life force seemed to have existed in their form.

My clothes were the ones that were from my father's childhood. I had never met my father, but I felt a strange kind of closeness to him, perhaps because of his clothes which I wore."

Quotes are from the Artist Statement, OCCURRENCES: FOUR MANITOBA PAINTERS. The Winnipeg Art Gallery, 1981.

Working in a free, fluid manner bereft of controlling lines,  Aliana Au's brushstrokes create realities seemingly devoid of change and time. As a painter, Au draws from her own life experiences and a deep well of memories — core emotions that are unwashed by time: the intimacy of family; storytelling; and the unscathed feeling of belonging. With no reservations about letting areas of paper show, Au employs an impressionistic effort, allowing the free space to evoke the light and transparency of each piece in a poetic and elegiac fragility.

The use of rich indigos, fluid blacks, bold yellows and open space meet and then dissipate to create the feeling of timelessness. The juxtaposed touches of colour and paper are woven together with various types of brushstrokes. Effortlessly, Au embraces an intuitive but meticulous style that is in search of harmony rather than a strict replica of reality. Painting is essentially a conversation with time — the crumpled denim a tribute to the remembered and missing pieces of her childhood. It is this unity of reflection and time that projects in Au’s paintings the sense of eternity she desires.

TEN

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Opening Night: August 5th, 7:00PM
On Display: August 5th - August 27th

 

Gurevich Fine Art proudly presents TEN, an exhibition to celebrate the tenth anniversary of Gurevich Fine Art, highlighting the artists from Gurevich’s private collection of contemporary art. 

Many of the pieces showcased have been acquired over the last few years and are on view at Gurevich Fine Art for the first time. The exhibit opens August 5th at 7 P.M. and will feature work by Andrew Beck, Bette Woodland, Gabrielle Funk, Kieth Wood, Neil Peter Dyck and Kae Sasaki among others.

TEN promises an opportunity to catch a glimpse inside the works of Winnipeg’s foremost artists and emerging talent. The collection will host over 30 artworks; work of various sizes some striking, some intimate. They represent various styles ranging from cubist to postmodern traditional to graffiti. All are examples of exceptional artistry. 

This is an exciting opportunity for viewing or adding important pieces to collections.

This exhibit is on display at through August 27th. 

KC Adams & Tim Schouten, aski nipay

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OPENS JUNE 3, 7pm
ON DISPLAY UNTIL JUNE 25

Two well-known Winnipeg artists have partnered for an exhibit which provides both strong political commentary and visually stimulating artwork. KC Adams and Tim Schouten will pair their paintings and photography in aski nipay (land and water).

Metis artist Adams’ striking portraits are influenced by her travel to northern Manitoba communities during the summer of 2015.

“I was moved by the people who are walking the path of their ancestors, using their knowledge and power to protect the land and waters in their community. They face resistance from developers, Manitoba Hydro, government and sometimes even their own people,” Adams says.

Adams’ intent as a social practice artist is to capture, through her portraiture, the strong spirit and resilient and compassionate nature of these people.

Schouten’s colourful encaustic paintings perfectly complement Adams’ photographs. His work continues a long-term research-based project, The Treaty Suites, in which he is investigating the signings of Treaties 1 to 11 in Central Canada, and also providing a response to the Final Report of the Truth and Reconciliation Commission of Canada.

“Language is at the heart of the treaty process and its failings in this country. My work reflects on the history of treaties and on the vitality of indigenous languages,” Schouten says. “My encaustic/ hot wax medium carries the weight of this history through a layering and reductive process.”

Schouten’s paintings incorporate both Cree and English text, in an effort to highlight the urgent need to preserve and promote indigenous languages in Canada. Though he himself is not an indigenous artist, like Adams, his work was energized by travel to four places where Treaty 5 was signed.

“Adams and Schouten’s work naturally fits together,” says gallery owner Howard Gurevich. “The photographs and paintings complement each other both in an impressive visual display, but also a thought-provoking insight into an extremely significant piece of Canadian history.”

Tim thanks the Manitoba arts Council for their support of this work

Shelley Vanderbyl, Fresco

Winnipeg’s art scene may know Shelley Vanderbyl from her Memory Tales series – familiar childhood stories set on playing-card-sized matteboards. The process of creating Memory Tales sparked Vanderbyl’s fascination with seeing her paintings, not just as representational images, but as objects; their distressed edges evoke the feeling that the palm-sized pieces exist with their own history.  Instead of fighting the dust being created as she sanded down these edges, she smoothed it back into areas of the oil paint, creating matte surfaces in her works.  From this launching point, Vanderbyl’s latest exhibition, Fresco, extends this focus onto a vast new scale and into a medium mined from her own past, drawing again on themes of time and memory. 

Vanderbyl’s paintings aim to build a material language about hope. Her frescoes are fuelled by hope: she takes risks and experiments with her work, trying things that could potentially ruin a piece in order to keep growing herself as an artist and expand the boundaries of her painting practice. Her fresco work stems from her time as a drywall taper: working with plaster in harsh environments has inspired her to concentrate deeply on plaster’s response to her tools.

“The experience doing my drywall taping causes me to see my artistic practice as a layered, rather than linear, process. Some of these layers are created through discoveries of hope in my own life, being able to mine something good out of difficulty,” Vanderbyl says.

Even the materials she uses add more meaning to her work: mud from a riverbank where she sat collecting her thoughts on a particularly discouraging day and marks from the charred branches of her favourite apple tree, whose growth she had been using to track the years her family spent in one home during her husband’s military career.

Fresco showcases Vanderbyl’s growth as an artist and bravery to work in new styles and textures. The exhibit invites the viewer to have a conversation with the work, interacting on a deeper level of self-reflection,” says Howard Gurevich.

Vanderbyl’s paintings are inspired by places she’s lived and travelled and others’ stories. It’s these stories, strung together, that create the relationship between the viewer and the painting.  When these paintings exist in spaces occupied by people, Vanderbyl hopes they will both comfort and listen, offering messages of hope and assurance.

Fresco opens May 6 at 7pm and runs until May 28.

Sue Gordon, Surfacing

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Opens April 1, 7pm
On display until April 30

Sue Gordon’s encaustic paintings are created through layering and careful excavation of her chosen medium of beeswax: slowly negotiating what becomes the final piece of work.  While in the past, Gordon’s work was comprised of horizon lines with distance and clean sightlines, her latest work is made up of sightlines that are compromised or obscured, even walled completely. This exciting new work will be on display in Gordon’s exhibit, Surfacing at Gurevich Fine Art.

 “I spend as much time building up layers of wax and pigment as I do scraping them away,” says Gordon. “In some cases, I build an entire landscape only to excavate it, with just traces of the original composition remaining in the final piece.”

Gordon’s encaustic works are composed of beeswax, resin and pigment. The paint is kept on a heated palette and applied to an absorbent surface. It’s then heated again to fuse the paint. While it is a highly sensitive and temperamental medium, Gordon’s work showcases the medium’s ability to record physical texture, while also retaining its fluidity.

 Her new series references both brick and concrete surfaces, while others speak about bodies of water, depth and the sense of being submerged.

“Surfacing showcases the intricacies of encaustic work, making evident the hours of time it takes to bring each piece of work to life. The exhibit is representative of Gordon’s expertise in the medium and invites the viewer to a deeper understanding of Gordon’s workflow and thought process.”

Andrew Beck, Future Forms

 

Andrew Beck’s sculptures are given life through the inspiration he finds in his work designing sets for theatre and dance. His art provided the backdrop for hundreds of moving sculptures in countless performances. Now Andrew is taking centre stage. In his latest exhibit, Future Forms at Gurevich Fine Art, Beck’s sculptures with their literal and implied movement are the stars.

“Out of all the visual arts, sculpture has an especially interactive relationship with its viewers. The objects exist beside us in three-dimensional space. This extra dimension means the art relies less on understanding the conventions that have been codified in two-dimensional art and is a closer imitation of the human form,” says Beck.

Future Forms seeks to render the steel sculptures as fluid and reflective, and in doing so project a sense of motion. Each of Beck’s sculptures can be described as kinetic. The sculptures in the show are conceptions of interaction between the human and the super mundane, giving the viewer the ability to see dimensions we normally wouldn’t see in art.

 In his Two Figures series, Beck has worked to simplify the plane so the viewer can compare and contrast the two figures, and consider the interplay of the two objects. Each sculpture’s surface has been ground and polished so that the reflecting light helps to create movement.

In the Whirligig series, the sculptures explore pattern, edge and the formation of evolving shapes. The changing configurations produce a mesmerizing effect. The intention is reinforced by the fact that the sculptures are wind-driven, bringing a silent solemnity to the interplay of light and pattern.

“Future Forms brings a whole other level to art viewing and hones in on the bond the viewer can make with the sculptures,” says Howard Gurevich, owner of Gurevich Fine Art. “The exhibit showcases the ability of sculpture to act as meditative objects and is truly representative of Beck’s multi-talent.”

Future Forms opens March 4 at 7:00 pm and is on display until March 26

 

500 Years of Prints

OPENS: FEBRUARY 5, 7PM
ON DISPLAY UNTIL FEBRUARY 27

Gurevich Fine Art pairs a collection of centuries old works with modern-day prints in an impressive art history lesson that is the gallery’s latest exhibit, 500 Years of Prints.

It is an exposition of secular and religious works that illustrate the varying techniques and applications of printmaking over the last 500 years. The comprehensive exhibit, curated by art historians Claire LaBrecque (Art History Professor, University of Winnipeg) and Jim Bugslag (Art History Professor, University of Manitoba), and GFA owner Howard Gurevich, features etchings, engravings, lithographs, monoprints, rare books and more. Examples date back to the early 15th century and every era up to today. 500 Years of Prints showcases works of historical artists such as Piranesi, Picasso, Durer, Phillips and Bergman, alongside GFA’s own artists including Diana Thorneycroft, Edward Becenko and Christian Worthington.

The exhibit brings together a remarkable collection of prints from the University of Manitoba, the University of Winnipeg, as well as several private collections and Gurevich Fine Art. It will encompass the entirety of GFA’s four galleries.

LaBrecque says, “It is an opportunity to view modern and historical work together and gain some perspective on how techniques and imagery have remained consistent and how they have changed.” 

“The show is truly an art history lesson in itself. It’s not often that we are able to see a show this wide in scope, with such diverse work,” says Bugslag.

“The fact that we are able to showcase private collections of never-before-exhibited historical prints is a rare opportunity for our gallery visitors.” Gurevich adds.

The exhibit will feature a number of original prints available for purchase. Gurevich Fine Art would like to thank the University of Manitoba, the University of Winnipeg and the private collectors for their contributions to make this exhibit possible.

 

2015, Christian Worthington

Twenty-six pieces of artwork, three galleries and one year of production: this is “2015”, the largest and most ambitious show yet for Christian Worthington.  2015 is an up-close and personal insight into Worthington’s process over a single year.

2015 showcases Worthington’s multitude of talent and will encompass three of Gurevich Fine Art’s galleries. The show will display large-scale paintings measuring 10 x 7 feet in Worthington’s signature soft, glowing style, highly finished portraits and sculpture made of industrial grade steel, drawings in various mediums and paintings made over photographs and other found material.

The artworks in the show will be grouped in cycles, following Worthington’s workflow over the course of the year. Many pieces will be accompanied by a descriptor of when and how the art was made.

“It’s the biggest solo show I’ve done, but it’s also the most intimate. It’s the most transparent in how it shows the viewer how I think and develop ideas, and how they develop momentum,” says Worthington.

“I want the viewer to follow my work through the year and make their own connections: to see how a small drawing done in February will manifest itself in a painting or sculpture done in August,” he says.

Howard Gurevich, owner of Gurevich Fine Art says, he’s impressed by the breadth and depth of Worthington’s talent and excited to present it.

“2015 is truly a behind-the-scenes look at an artist’s process. The work and its quality alone is commensurate to the amount of space we’ve given it,” Gurevich says.

2015 opens at 7:00 p.m. on December 4 and runs until January 30.

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662

Robert Sim, Artistic License

OPENS: NOV. 6, 7pm
ON DISPLAY UNTIL NOV. 28

While art exhibitions are typically prefaced with an artist’s statement, for Robert Sim, the statement is simply his work, not his words.  

Most of the works in this exhibit were created from memory, though a few were created directly from life, and a few from photographic references.

Sim takes artistic liberty with each of these pieces and alters little things here and there. Sometimes elements are added, subtracted or rearranged to emphasize different features of the scene. In other paintings, the colours are changed to give a different impression of the scene.

“For example, in Road South, a work done from my memory, all of the telephone and hydro poles in the actual scene were removed, as were the road signs and a railway crossing. Some colours were changed – like the snow, which was a greenish blue in reality – became white in the painting. Each of these changes were made to give a general impression of winter in southern Manitoba,” Sim says.

The process is much the same for works directly done from life and from photographs. Each of these changes are done to make the painting stronger and more captivating to the viewer.

Artistic License demonstrates the artist’s ability to take a real-life scene and alter it ever-so-slightly to create a work of art. The exhibit is sure to resonate, perhaps with a changed perspective, with viewers feeling strong ties to Manitoba landscapes.

 

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662

Lisa Johnson, David Tycho and Kevin Boyle: A Sense of Place

Kevin Boyle, Lisa Johnson and David Tycho’s work is inspired by vast prairies, the rocky shield and urban cityscapes. While their work depicts varying locations, the common element is that each artist captures the inner intensity of the landscape.  A Sense of Place opens Oct. 2 at 7:00 pm at Gurevich Fine Art.

B.C.-based artist Kevin Boyle’s DaySleeper series explores prairie landscapes, and is centered on his fascination with darkness and his relationship with the night. It was after his father’s passing, when he returned to his prairie home on a two-day marathon of coffee, open road and photography, that he saw the beauty of the prairies in the dark, and the DaySleeper series was born.

“I found a freedom that the day never seemed to deliver; a peace and quiet in the air while most people slept. I want to show you with light that there is beauty in the darkness,” Boyle says of his work.

Ontario-based artist Lisa Johnson explores the experience of landscape and how we find meaning through a sense of place -- for Johnson, it's mostly her home in the Canadian Shield. Johnson begins her artistic process with painting and sketching on location. Afterwards, in the studio, she works on larger, more abstract pieces that allow the memories and spirit of the places to emerge.

“My work is a painterly response to nature – the paintings are not views of landscapes as objects, but immersions into an experience of place– a “landscape of the mind,” says Johnson.

B.C.-based artist David Tycho’s contribution to A Sense of Place explores the physical, formal and psychological elements of cities. Some of his works can be interpreted as positive, brightly coloured renderings filled with optimistic vitality and nostalgia, while others are darker, more somber depictions of sterile, deserted concrete canyons and a sense of isolation and alienation.

“For me, the intriguing aspect of cities is the co-existence of these seemingly disparate characteristics: the yin and yang of urban existence,” says Tycho. 

A Sense of Place is an exploration of varied landscapes and the meanings they hold. Each artists’ work comes together intriguingly in a show that stimulates the viewers to see home in a new way.

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Aganetha Dyck, Reva Stone, Diana Thorneycroft: Bees, Beasts & Binaries

OPENING NIGHT: SEPT. 4, 7PM
ON DISPLAY UNTIL SEPT. 26

Although they’ve been sharing a studio space for more than two decades, Aganetha Dyck, Reva Stone and Diana Thorneycroft have never exhibited together. September 4 marks a monumental occasion as these three internationally renowned artists open Bees, Beasts and Binaries.

“We deeply respect each other’s practices and exhibiting together is a wonderful way to celebrate what we feel is a very special relationship,” say the artists of this exhibit.

Bees, Beasts and Binaries, which runs until September 26, brings together the artists’ distinctly different, yet complementary works into a provocative and engaging exhibition. All three artists use materials in unconventional ways, which challenges the viewer's perception of the issues being addressed.

2007 Governor General Award in Visual and Media Arts winner Aganetha Dyck’s interests lie in inter-species communication and the power of small, and how that manifests itself in the world. Her research asks the question regarding the ramifications all living beings would experience should honeybees disappear from earth. In her new body of work, Book Covers, Dyck uses apiary feeder boards, antique hive blankets and her library of bee related books.

2015 Governor General Award in Visual and Media Arts winner Reva Stone is a digital artist whose work explores how technology changes the relationship between our selves and our surroundings. Her latest work,  Radiopticon, is the binary component of Bees, Beasts and Binaries, and consists of an early photograph projector that was used to show postcards in the early 1900s. The projector physically reads as a camera/video projector and travels the exhibition space on a robotic platform. Responding to viewers in its proximity, it shows a variety of video clips that critique contemporary, historical tourism, ecotourism, time travel, the economic impact of the globalization of travel, and the historical use of photography as a device that records memory.

Though globally recognized for her photographic work, over the past two years Diana Thorneycroft has mostly been focusing on the production of sculptural objects. Thorneycroft brings the beast to Bees, Beasts and Binaries with new animal sculptures, and photographic works that build on a similar narrative. Just as she did with her altered horses, Thorneycroft strives to create work that reflects the tension one experiences when encountering “otherness”.  

Bees, Beasts and Binaries is a celebration of a shared studio space, three friends and new work. It is an important event not to be missed.  

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Inland Sea: photographic works by William Pura

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Since 2005, William Pura has taken thousands of photographs of Lake Winnipeg and the surrounding area. The photographs curated for Inland Sea, Pura’s latest photographic exhibition, touch on a wide range of issues regarding the lake and its relationship to the human presence in Manitoba.

“Images like the Ferris Wheel at Winnipeg Beach or the boat launch at Balsam Harbour indicate how often we use the lake as part of our recreational activites,” says Pura.

“In other images, I have tried to capture the lake in its natural state – using the play of light and atmosphere on the water, with no apparent intervention from humanity other than my presence with a camera.”

Pura has tried to visit the lake throughout all four seasons, at various times of the day.

“I know at each moment, I will find something different. I have yet to be disappointed.”

Pura has been creating art in various mediums for decades. Known for both his paintings, photographs and working mostly in landscapes and abstracts, he has exhibited across North America and Europe.

Inland Sea showcases Pura’s perspective of a place that is a large part of many Manitobans’ daily lives. Its aim is to bring the viewer to a certain place or time, invoking positive memories about a place the photographer holds dear to his heart.

A portion of the proceeds of sales from the exhibit will be donated to the Lake Winnipeg Foundation.

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Prairie Homecoming: new works by Katharine Bruce

TRAVELING ARTIST BRINGS EXHIBIT HOME TO MANITOBA

New York born, prairie raised Katharine Bruce has spent the past five years finding inspiration between the west coast of Canada, the central mountains of Mexico, the plains of Nebraska and the prairies of Manitoba. She returns to her prairie home to share new works from her travels. 

“My surroundings nurture me in a very real way. I feel them feeding me an extraordinary energy,” says Bruce. “That, combined with my passion for life, powers my day to day, and gives me the inspiration that results in the works I create.”

“I think of my work as naturalist abstractions which invoke real or imagined environments. Improvisation is an important part of my work process. I never know before hand what will appear – there are no preconceived notions.” 

Bruce has gained international acclaim for her wide range of abstract reflections, creating subjects that provoke, inspire and delight. Her zest for life at a heightened level of physical and spiritual intensity fuels her artistic expression. 

Throughout her professional career, Bruce has worked with pottery, handmade paper, sculpture and mixed media. Known for her cityscapes and landscapes with a twist, her work shows a disciplined master of design with line, colour and texture.

Prairie Homecoming showcases Bruce’s affection for her prairie home in colourful, enticing abstracts, which, like the prairies, bring a sense of wonderment to the viewer. 

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

THIS TIME: new works by keith wood

OPENS JUNE 5, 7PM
ON DISPLAY: JUNE 5-27

While Keith Wood seldom lets the world influence his work, he admits that each of his paintings represents a sum total of his life experience to date. 

As much as Wood tries not to let his surroundings impact his art form, he takes many cues from the musical genre of jazz. Much like jazz music, Wood’s art has an underlying element of structure, in his consistent colour palette and grid-like format. But the dominant elements are the strong notes of improvisation. The result is an intriguing, endlessly interesting body of work – visual music.

Wood approaches each of his paintings with a liberating lesson he learned in art school more than 50 years ago: never assume you know what you’re doing when creating art.

“Sometimes you hit euphoria, then, as you assume you’re in control, you’re like a tethered animal with limited freedom,” Wood says.

Wood works primarily with encaustic paint, which is composed of beeswax, resin and pigment. The paint is kept molten on a heated palette and applied to an absorbent surface. It’s then heated again to fuse the paint. He came to the medium by default, looking for a change of pace after creating art in every known medium. He hasn’t looked back.

Wood works with a limited colour palette, and he says the irony is that the fewer colours he uses, the more colourful his paintings end up.

This Time combines Wood’s 50 years of art experience, with a strong jazz influence in a collection of contrasted, arrhythmic work. Wood says the exhibit isn’t about him, though; it’s about providing an exciting visual experience for the viewer.

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Tom Lovatt, In the Palace of the Planet Queen

OPENING NIGHT: MAY 1, 7PM
ON DISPLAY: MAY 1 - 30, 2015

If memory is a storehouse of everything we value, it is kind of a palace, a place full of all that is precious to us. This idea comes to life in renowned Winnipeg painter Tom Lovatt’s In the Palace of the Planet Queen.

The Planet Queen refers to Spanish artist Diego Velasquez’s Infanta, Queen Mariana. For more than 20 years Lovatt has made new art based on an old Time Life image of her head. Over time, each painting of the Infanta’s head is different as Lovatt’s understanding of what he’s observing and responding to has evolved. 

The show contains three distinct components: paintings, collages and small constructions. The collages began as studies for painting and became something unto themselves. The small constructions grew out of his love of Joseph Cornell’s work, architectural models, doll houses, set designs – anything that works to create an aspect of the larger world in small scale. 

“My works are a poetic exploration and representation of memories past: be it historical, or the personal past that we carry with us in images, memories and reoccurring thoughts,” says Lovatt. “Each repetition builds momentum towards a larger understanding of the work created and the artist who creates.” 

This repetition is Lovatt’s way of focusing the viewer on something he considers important, a way of making the viewer slow down and really look at his art.

In the Palace of the Planet Queen reflects Lovatt’s belief that art is a meaning-making process and a way of better understanding both our internal and external worlds.

 

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

REQUIRED READING: Kae Sasaki

OPENING NIGHT: APRIL 3, 7:00PM
ON DISPLAY: APRIL 3 - 25

An artist’s work will almost always have multiple meanings and interpretations. This is especially the case with the body of work in Winnipeg artist Kae Sasaki’s latest exhibit, Required Reading

“My paintings are initially conceived from a commanding notion of the sheer interestingness of the subjects. I begin with considering composition and approach to colour,” Sasaki says. “My process uses intuition as often as it does careful linear planning. As the psychological component takes over, symbols and other elements are added to open up the paintings in a multi-vocal way.”

Sasaki has created a method of patinated gold-leaf that brings a distinctive complexity to the paintings. This technique creates the depth that brings the viewer into a visual world that is both familiar and significant. 

The layered meanings in Sasaki’s paintings emerge from her profound emotional connection to every day life-experience. The work is rooted in every day subjects, yet subtly ascends into another world, a glorious fusion of the mundane and the extraordinary.  “I seek an imaginative revitalization of the narrative and atmospheric potential of painting,” she says.

Much of the work features a child in a wonderfully surreal landscape. There is a sense of discovery and wonder as we view the lush surroundings of our world through new eyes, seeing things we have ceased to see. And there is much to see: each viewing results in a different perspective, as the rich symbols of the work reveal themselves.  

Required Reading transcends the ordinary by revealing the mystery behind the familiar.  

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Tools: Kyle Herranen, Clint Neufeld, Marc Courtemanche

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OPENING NIGHT: MARCH 6, 7:00PM
ON DISPLAY: MARCH 6-28, 2015

Sometimes they refer to themselves as “tools”, but internationally renowned artists Kyle Herranen, Clint Neufeld and Marc Courtemanche have more in common than a light sense of humour: their work is all about tools. 

Tools challenges society’s stereotypical gender roles and explores the endless possibilities of the artists’ respective materials.

“Our work goes well together. Each of us explores the notion of gender,” said Herranen. “While the pieces themselves are hyper-masculine, they are beautiful objects with feminine qualities,” he said.

Herranen is best known for his highly polished shallow relief resin sculptures that de-code contemporary notions of aesthetics. These socially constructed realities both parallel and reject nature and the environment. As an outdoorsman, along with fighting forest fires across North America for nine years, he is rooted in a bizarre, absurd, and meaningful intersection between nature and culture.

Neufeld, a sculptor, works with the concepts of masculine identity in the form of ceramic transformations of engines and transmissions. He paints them pink and light blue, adding flower details. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military.

Courtemanche uses woodworking skills and applies them to clay. The results are objects that are visually taken for “real”, with a closer inspection revealing them to be made of a foreign material. Additionally, the decoration of various tools with vintage “country style” ceramic decals alludes to familiar decoration of functional domestic ceramic objects, while drawing attention to the handmade quality of the objects.

Together, the artists’ work perfectly complements each other in a show that challenges the viewer’s ideas of masculinity and art.

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

Christian Worthington, "Zeitgeist Vs. Great Man"

OPENING NIGHT: DECEMBER 5, 7:00PM
ON DISPLAY: DEC 5 - JAN 31

Christian Worthington regards history as an endlessly unfurling source of information, prompting the evolution of his art. This development is clear in Zeitgeist vs Great Man the third exhibition in the Painting is History series. Worthington’s latest oil, clay and steel pieces underscore his study of history’s influential artists. By identifying great artists as authority in his work, Worthington is able to elevate his art in a contemporary landscape saturated with self-expressiveness. He understands that zeitgeist  – current world culture and his work are inextricable. It is because of this consideration that Worthington seeks to produce historically informed art in the midst of our cultural amnesia. Zeitgeist vs Great Man opens at Gurevich Fine Art on December 5th and is on display until January 31st, 2015.  

“History informs us,” says Worthington. “We can accept it, reject it, or sample it, but as an artist I am compelled to respond to it. We need to understand that there is a historical fabric that runs through everything that we create, it is connected to everything that is and everything that will be.” In the act of creating, with these ideas in mind, Worthington offers historical relief and the possibility of historical transcendence for his art.  

Based on the philosophical ideas of the “Great Man” and “Zeitgeist”, Worthington attempts to understand the forces of revolutionary change in civilization.  The 19th century cultivated the Great Man theory, whereby it was argued that highly influential people determine history, exclusively. The mythology behind some of the world's most famous leaders such as Abraham Lincoln, Joan of Arc, Mahatma Gandhi, and Alexander the Great helped contributed to the notion that great leaders are born and not made.  

“Conversely, the Zeitgeist, or ‘the spirit of the age’ theory, represents a shift in the mood or attitude of a time in which culture vigorously adapts to introduce new ideas,” explains Worthington. “This latest collection of works in oil, clay, and steel is a self-conscious examination of my approach to art-making.” By deconstructing the theories of “Zeitgeist” and the “Great Man” Worthington challenges himself to explore how history happens and its potential to motivate new works of art from other, non-patriarchal perspectives.

These two contrasting concepts are examples of how historicism has formed  his development as an artist. Worthington’s work seeks not to be an academic response to history, but a visual, emotional expression of how it informs art today. 

Discover more from Christian Worthington

TO REQUEST A CATALOGUE OF THE WORKS, PRICES OR ADDITIONAL INFORMATION, PLEASE CONTACT US AT SALES@GUREVICHFINEART.COM OR 204-488-0662.

1557, oil on canvas, 2014, 72" x 40"
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Bette Woodland, "Casting Shadows"

Opening Night: November 7, 7:00PM
On Display: Nov 7 - 29

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Wave, oil on canvas, 2012, 36" x 42" 

Imagine music without a clear melody . . . In art, a close equivalent to this loss would be a painting without a clear sense of light and shadow. Just as the notes and rhythms of a melody lead us through a musical piece, it is the important role of light to move us through a painting. Perhaps this is why the work of award winning artist Bette Woodland is considered so reflective.  Woodland’s exhibition Casting Shadows opens November 7th, 7:00PM at Gurevich Fine Art and is on display until November 29th. 

At her core Woodland is concerned with the capturing of life’s moments. Each painting or drawing begins with her response to a particular landscape, figure or still life. She creates a rhythmic visual harmony of light and shadow. Together they create a sense of movement. Both familiar and timeless, Woodland’s art is not descriptive in the photo-realist sense.  It evolves intuitively, guided by a conversation with a certain quality of light. No matter the subject, Woodland uses light and shade to make its identity clear. 

Each painting presented is built up with layers of paint, each layer applied when the surface is dry. This process often finds Woodland developing many different pieces at once.  By applying areas of paint with a painting knife she is able to “float” one colour over another without blending them together. A similar method is experience through her monotypes using brayers, one colour of ink is applied over another without losing either. The values, in contrast with one another, create a dynamic relationship. 

"My work is engaged with the transformative power of light,” explains Woodland. “It intensifies experience and lifts the ordinary towards the transcendent. My practice as an artist has always been concerned with revealing that experience through paint." Woodland reflects a strong, self-conscious juxtaposition of light and shade, which results in a stunning visual effect in a work of art.

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Grey Sky, oil on canvas, 36" x 42"

Works Available

To request a catalogue of the works, prices or additional information, please contact us at sales@gurevichfineart.com or 204-488-0662.