2005 Exhibitions

2005 Exhibitions

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Canadian Club

November 27, 2005 - January 14, 2006
Opening Reception: Sunday, November 27, 2 - 4 p.m.

Persona Volare is a collective of twelve Toronto-based artists dedicated to the exploration of non museum sites, especially those sites that have a special symbolic charge. While their media is diverse - sculpture, photography, painting, video and new media - their single intention is to invade and transform unlikely spaces.

Catherine Bédard, Director of Visual Arts Service at the Canadian Cultural Centre in Paris, France invited the Toronto artist collective to install projects in the galleries and non gallery spaces throughout the Canadian Embassy in Paris in the spring of 2005. Installations took place in hallways, stairwells, and washrooms, in the galleries and in windows, on flagpoles, in the outdoor courtyard, as projections, projectiles and projectables.

The group's intention was to create an exhibition that contained metaphors of conversation, intoxicating highs and resolute instinct. The exhibition, designed for the unique characteristics and qualities of the Canadian Cultural Centre, will be adapted to the unique character of Rodman Hall and will be comprised of video projections and monitors, sound, digital imagery, text, film, painting, drawing, photography, print making, sculpture, as well as "liquid and electronic diversions."

Persona Volare is indeed a Canadian Club as is the well known staple of any bar, which leads the artists to describe their work in this exhibition as "spirited, euphoric and stimulating."

For more information about Persona Volare, please go their web site at http://personavolare.com/


Fifty Years of Art Making

August 6 - September 18, 2005

Closing reception Saturday, September 17 from 2 - 4 p.m. at Rodman Hall and
from 4 - 6 p.m. at the Niagara Artists Company, 354 St. Paul Street, St. Catharines

This exhibition gathers work from private and public collections throughout Ontario and provides an opportunity to glimpse the lifetime effort of an art-making career: the growth and development of an artist, who stayed within the regional context, explored the avant-garde conventions of the day but followed her own specific course of inquiry. That inquiry saw her designing and painting the stage sets for the first production of the Shaw Festival, honing her consummate drawing skills and investigating sculpture, the medium in which she would realize her potential for provoking the sublime and challenging the obvious.

Her sculptural prowess draws heavily upon the juxtaposition of a common format or familiar object and the unconventional material used in its construction. For example, the hexagonal forms comprising a honeycomb, rendered in urethane soaked silk, expand the prosaic into an ethereal translucence of fragile rigidity. This play between the temporal nature of structure and her affinity for material and its transformative power imbues a speculation of ritual or totemic value to the sculptural form.

From 1950 to the present day Alice has been actively engaged in concerns and issues around art and contemporary art-making practice. As a founding member of one of Canada’s longest standing artist-run centres, the Niagara Artists’ Company in St. Catharines, she played a significant role in the area's art community: exhibiting gained her much recognition in her efforts to confront the world as a woman, an artist, a parent and a breadwinner.

This exhibition has been organized by the Durham Art Gallery and has been brought to Rodman Hall in collaboration with the Niagara Artists' Company.

Image: Alice Crawley, Wire Column, wire, 1987. Collection of the Canada Council Art Bank.


Floating Architecture and Passage

September 25 - November 16, 2005

Nancy Rahija’s exhibition at Rodman Hall will feature a selection from two bodies of photographic work: Floating Architecture and Passage. Floating Architecture is a series of oversized photographs and panoramic photo montages of shipping in North American ports. Rahija uses the negative as a documentary tool, photographing in multiple sequences and repeating particular elements. She responds to the rugged waterborne and weather worn character of her subject matter through a process of distressing. During studio production she moves back and forth between the darkroom and light box, adding dies and inks as well as a variety of textured and tinted tapes to change the colour and texture of the negative. Rahija works those materials into a composite glass plate negative to produce a print that is layered and rich – a colour saturated panoramic collage that celebrates this rough grandeur.

Passage is an exploration of the workings of lock systems. These tight focus close-up images, presented as photo assemblies and as diptychs, are a comparison of the architecture of lift locks in relation to the water that is contained and released from them. The impact that water has on the architecture of the lock systems is documented and manipulated by the artist, setting in relief the variety of organic colours and textures found within this functional, artificial part of the waterway. In both Floating Architecture and Passage the artist challenges not only the slick documentary tradition of photography that is associated with industrial architecture, but also the social perception of environments on the fringe, retrieving an aesthetic beauty from steel and water.

Nancy Rahija is a native of Hamilton, Ontario who has recently completed her Master of Fine Arts degree at the University of Nevada Las Vegas. Before entering the Masters program at UNLV, Rahija had established an impressive record of exhibitions in Canada and in the United States. She has been awarded academic graduate scholarships from UNLV in addition to visual arts grants by the Toronto Arts Council, the Ontario Arts Council and the Canada Council. She currently makes her home in Toronto. Illustrations of Nancy Rahija’s photography can be seen at http://mechanicalred.com/nancyrahija.html 

Image: Nancy Rahija, Marchen Maersk, colour photograph.


The Uneasiness of Silence

May 20 - July 31, 2005
Opening reception Friday, May 20 at 7 p.m.

The Uneasiness of Silence is an exhibition of recent work by Montreal-based artist Joe Lima. Lima’s fresco and casein paintings feature figures in landscapes and interiors. The reference for this work comes from abandoned fields and interiors from Portugal and Canada, recorded in Super 8 film footage. Lima has reconstructed and manipulated this film footage into a series of montages, using these as reference material for the final painted artworks.

Painting with a subdued colour pallette, Lima has created a series of quietly inscrutable images – a child looking like it has stepped out of Gulliver’s travels looms over a landscape, ghostly half figures drift through the picture plane, an indistinct silhouette passes by a tree. Each image connects a frame, a 24th of a second, to the world of dreams and of vaguely remembered images of the past, of spaces linked to a personal past that no longer exists.

Joe Lima was born in Sao Miguel in the Portuguese Azores in 1963. He studied visual arts at Fanshawe College in London, Ontario and at Concordia University in Montreal, where he currently lives.

The Uneasiness of Silence has been organized by Cambridge Galleries and Rodman Hall Arts Centre.


Selections from the Permanent Collection

Featuring works by J.W. Beatty, Leonard Brooks, A.J. Casson, Paraskeva Clark, Charles Comfort, Lawren Harris, E.J. Hughes, A.Y. Jackson, Franz Johnston, David Milne, Goodridge Roberts and Carl Shaeffer.

The Canadian landscape is known for its vastness and variety and for many it is a defining characteristic of Canada. Yet, today Canadians live primarily urban centres. Is our attachment to an aesthetic of wilderness a nostalgia for a simpler time -- of a world before massive development and resource extraction? Or perhaps we simply seek to reconnect with the earth and its natural cycles? Decide for yourself in this selection of classic Canadian landscape painting from Rodman Hall's permanent collection.

Imgae: Lawren Harris, Canadian (B. 1885 – D. 1970), Lake Superior LXVI, nd., oil on board, Gift of the Douglas M. Duncan Estate, 1970. RH #332.


The 2005 Brock Visual Arts Honours Exhibition

April 10 - May 8, 2005
Opening reception Sunday, April 10, from 2 to 4 p.m.

Featuring Wayne Corlis, Stephanie Data, Kevin McGuiness,Jennifer Herd, Debra Maney, Courtney Sendzik,Sabrina Van Tyghem and Nancy Zimmerman

A Time and a Place, an exhibition of art work by Brock’s 4th year Visual Arts Honors class, provides an opportunity for eight evolving artists to make their mark.

During the past academic year, Rodman Hall has been home to the 4th year Visual Art Honors Class under the tutelage of Associate Professor Murray Kropf. The students turned the 3rd floor rooms and the old Rodman Hall laundry into creative places and active studio spaces. This exhibition is a record of their activity.

The title of the exhibition, A Time and a Place, was chosen by the artists to reflect the references to time and space found within the work of each member of the group. Within this common theme a wide range of media is represented from drawing and painting to the photographic documentation of ephemeral projects and installations.

Image: Back left to right: Nancy Zimmerman, Wayne Corlis, Debra Maney, Middle: Jennifer Herd, Stephanie Data, Kevin McGuiness, Sabrina Van Tyghem, Courtney Sendzik.


A Juried Exhibition of Artwork by the Students of Brock University's Visual Art Program

March 13 - April 6, 2005
Opening Reception and awards presentation Wednesday, March 16 at 7 p.m.

featuring Adam Bourret, Kate Bryozowski, Rena Burns, Alex Chomyshyn, Emily Colombo, Wayne Corlis, Stephanie Data, Marlie Christine Huisman, Clayton P. Letourneau, Debra Maney, Mark Neufeld, Paige Peressotti, Paul Raskob, Ewelina Torbinski, Katie Webb and Nancy Zimmerman

Juried by Melanie MacDonald and Gordon Hatt

VGS05: What's that spell? It spells Visa Group Show 2005 and it is the second year that this juried exhibition of student work will take place at Rodman Hall.

The exhibition, which runs from March 13 through April 6 is a student run event that is part of the larger Arts Festival that has been running at Brock for more than 25 years displaying student works in visual art, music and drama. VGS05 will represent the best of Brock students' visual art.

Stacey Breault is a third year visual arts student and the coordinator of the juried exhibition. According to Breault, "It's going to be the best one yet!"

The jurors for this year's exhibition will be Rodman Hall Director Gordon Hatt and St. Catharines artist Melanie MacDonald. Juror Melanie MacDonald is an alumna of the Brock VISA programme, and a respected painter. When asked if she would be a juror for this year's show she said, "Sure, I'd love to!"

Gordon Hatt has been director of Rodman Hall Arts Centre since August of last year. When asked to be a juror he said, "I'm in. Brock students rule!"

VGS05 is open to VISA student at Brock university. There is no fee for entry. No artist is allowed more than two entries. Artists wishing to be a part of VGS05 can bring their art work and register at Rodman Hall Arts Centre on Monday, March 7 between 12 noon and 8 p.m. Jury awards will be announced at the opening reception on Wednesday, March 16 at 7 p.m.

Image: Paige Peressotti, Untitled, acrylic on canvas, 2004.


I laughed so hard I cried

January 23 – March 7, 2005
Illustrated lecture and tour of the exhibition: Monday, March 7 at 2 p.m.

Gretchen Sankey is interested in storytelling: How it helps us make sense of our lives, where personal narratives originate and how they mutate over time. She has been exploring this material over the past fifteen years, each series of work being informed by everything from cautionary fairy tales to bible stories, urban myths and school-yard gossip.

Recurring themes in her work are the co-existence of tenderness and brutality and the contrast of the mystical and the mundane. Throughout, the work is characterized by an interplay of contradictory narratives which feature a dominant (public) storyline and the more elusive, privately suppressed fragments that simmer just below the surface. Over the past several series, her graphic two dimensional images have lead to many small sculptural objects, some of which are featured in her Rodman Hall exhibition.

Born in Montreal, Sankey received her BFA and MFA degrees from York University. As a member of the 23rd Room curatorial collective, she has participated in the organization of exhibitions in alternative spaces, notably Duke-u-menta '90, '94 and '96. Her work has also been included in numerous national and international group exhibitions, most recently at the Robichon Galleries in Denver, Colorado (2004), and at the Rockefeller Arts Centre in Fredonia, New York (2003). Gretchen Sankey lives in Toronto.

Image: Gretchen Sankey, Over the Rainbow (detail), 2004, ink and gouache on paper, 22 x 15 inches.



January 23 - March 6, 2005

Max Streicher's work may be situated within a discourse of contemporary urbanism, addressing issues ranging from the exploration of the poetics of daily life to the relationship between architecture and public art. Streicher sews together lightweight synthetic cloth, like Tyvek, which is typically used in industry into forms are inflated and animated by industrial fans and simple valve mechanisms.

Streicher will install his inflatable sculpture Endgame in Rodman Hall's Harris-Godwin Gallery. These clown-like head gaze into the distance with expressions that read as a combination of bewilderment, alarm, and awe. At times they resemble the crassly exuberant commercial advertising of the used car lot, but they may also appear disconsolate and abject -- like the discarded heads of giant puppets. While this work plays on the seductive conventions of a kind of advertising (e.g. the inflatable King Kongs increasingly found at car dealerships these days), it in fact behaves quite indifferently to the curiosity of the viewer. Streicher says that if his heads were used to advertise something they would be upright, facing the viewer, initiating and reinforcing the cycle of commercial exchange. " . . . my heads do not look at the viewer –– they look elsewhere. They refuse to co-operate."

Streicher's strategy is to "overwhelm the space to create a very physical experience that is not about the contemplation of a discrete object against a neutral ground. This work can, suggests Streicher "create moments of gathering, not for celebration or remembrance, but for the witnessing of spectacle. As an experiment in public sculpture, this work reflects my sense that our most profound shared public experience is our simultaneous witnessing of disasters wherever in the world they may be occurring." Max Streicher was born in Olds, Alberta. He received both a BFA and an MFA from York University in Toronto. Since 1989 he has worked extensively with kinetic figurative inflatable forms. Streicher has exhibited across Canada in numerous public galleries and artist-run centres and he has completed several site-related projects, most recently in Kitchener, Venice, Siena, Stockholm and Erfurt, Germany and at the Art Gallery of Ontario. Max Streicher is represented by Artcore Gallery in Toronto. You can learn more about him on his website at http://maxstreicher.com/

Image: Max Streicher, Endgame (detail), 1999, painted Tyvek, electric fans, 6.5 meters high.



December 5, 2004 - January 16, 2005
Opening Reception: Sunday, December 5, 2 - 4 p.m.

Angela Leach will present an illustrated talk and conduct a tour of the exhibition on Thursday, January 13 at 1 p.m.

Since 1992, Toronto-based artist Angela Leach has been working on a project entitled Abstract Repeat -- a series of acrylic paintings which investigate the optical ajnd spatial transformation of the picture plane by using repetition in combination with colour and line. Her signature Abstract Repeat Wave series began in 1997 and has continued to the present.

Leach creates the illusion of perspective with the intersection of two linear waves at critical points. Each successive sine wave moving across the surface of the painting appears to taper and thicken in proximity to the next wave. This attenuation leaves the impression of a spatial recession characterized by a rolling wave. Leach then applies to these drawings a restricted colour palette of thirty-two colours which she organizes in complex repeating patterns. By repeating a sequence of colour placed in order from dark to light, for example, following the placement of the four darkest colours, she can complete a painting as a series of logical next steps. By altering the sequence or the colour key, Leach can create an almost infinite variety of unique colour patterns. Most observers of Leach’s work, however, have tended to focus on the optical illusions generated by her drawing and compare her to the British Op artist Bridget Riley. While Riley uses elements of graphic design and colour theory to achieve her optical effects, Leach’s images are arrived at as intellectually conceived complex repeating patterns. Colour rarely plays an illusory role in Leach’s work, rather it is applied as an exercise in complex sequencing.

Angela Leach was born in 1966. She attended Sheridan College School of Crafts and Design in Oakville, Ontario and graduated from the Ontario College of Art and Design. Having been introduced to the discipline of painting at OCAD and to textile design at Sheridan College, she eventually found in her work a marriage of the two. Leach has participated in many group exhibitions in her native Toronto as well as showing in Vancouver, Chicago, New York and Madrid. Significant exhibitions include Perspective 96, curated by Jessica Bradley at the Art Gallery of Ontario (1996); Rococo Tattoo: The Ornamental Impulse in Toronto Art, curated by Philip Monk at the Power Plant, (1997); TRANSlinear, co-curated by Michael Davidson and Ihor Holubizky at the McMaster Museum of Art in Hamilton (1999), and Visual Stimulants, with Ken Singer and Jeremy Stanbridge, curated by Keith Wallace for the Contemporary Art Gallery, Vancouver (2000). The body of work in this exhibition was first exhibited in 2003 at Cambridge Galleries in Cambridge, Ontario and has travelled to the Southern Alberta Art Gallery in Lethbridge, Alberta. After Rodman Hall, the exhibition will travel to the Owens Art Gallery in Sackville, New Brunswick and to the Doris McCarthy Gallery at the University of Toronto's Scarborough College. Angela Leach's work was recently featured in Richard Rhode's "The News at Five" during the this year's Toronto International Art Fair.

Image: Angela Leach, Abstract Repeat - Wave Large #3, 2002, acrylic on canvas (installation view).