After a five-year hiatus while caring for his ailing wife, Flora McLeod, and mourning her eventual passing, Alan Wood returns to the world of art with a pivotal new series ‘Dreams and Memories’. These collages and wood-reliefs are Wood’s response to the years of isolation he felt caring for his beloved wife and his longing to escape with her again to the places where they experience great love and pleasure.
Patrick Hughes Hughes’ painted reliefs demonstrate how deceptive appearances can be, and challenge the preconceived assumptions of eye and brain. The “impossible objects” created by Hughes pay homage to the work of M.C. Escher, Rene Magritte, and Richard Artschwager, with results that are at once surprising and familiar. These playful hybrids of sculpture and painting are in a constant state of change, and demand active participation from the viewer.
Vancouver artist Brian Boulton captures singular moments of everyday life in his detailed depictions of anonymous subjects in public spaces. Based on digital photos, these solitary figures face away from the viewer and are removed from their urban environment. Torn and rumpled jeans, worn down shoes and the subtle difference in texture of fabrics work together to construct a portrait of these anonymous individuals. These details have been rendered delicately in graphite by the artist, who admits to a long-held fixation with people watching. Boulton sees his drawings as a neutral documentation of a subject which becomes a collaboration with the viewer as they participate by projecting both personality and history on the subjects.
Chad Durnford's colourful and carefully constructed paintings act as meditations on structure, questioning the nature and purpose of architecture and design. Sophisticated stylization and subtle abstraction result in a disruption of the conventions of architecture, and open up new possibilities of looking at space.
Christian Nicolay’s latest body of work, Atlantis, is the artist’s multi-layered critique of governmental irresponsibility. Chosing art as a vehicle for political discourse, Nicolay’s timely works draw attention to the pitfalls of the globalization, the instability of the international markets and corrupt financial institutions. He combines ubiquitous and mundane materials such as ‘Made in China’ labels, plastic toys and small denomination currency with the intensely symbolic American flag. The subsequent re-presentation is a biting commentary on national self-image and its inherent fragility.
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acrylic on canvas
56 x 66 in