UPCOMING EXHIBITION JASON GRINGLER
October 4 - November 9, 2013
Opening Reception: Friday October 4, 6 - 9pm
ANGELL GALLERY is pleased to present the WORK, an exhibition featuring new work by Canadian New York based artist Jason Gringler. The exhibition will be taking place at ANGELL GALLERY throughout the East Gallery space. This is Gringler's fourth solo show at the gallery. An opening night reception will be held on October 4 from 6:00 to 9:00pm - SAVE THE DATE.
Jason Gringler is fast becoming a leading figure within a new generation of artists dealing with the history and trajectory of abstraction by simultaneously utilizing and challenging past traditions--bringing this storied form of modernism into the 21st century.
While references to modernist tendencies arise, Gringler's approach is rooted in the pluralism of today. Using a palette of industrial products (Plexiglas, mirrored glass, aluminum tape, acrylic, spray paint, epoxy and wood), Gringler creates large-scale works in which rich and complex surfaces are juxtaposed with seemingly broken and decayed materials.
Plexiglas, one of the artist's prime materials, is the antithesis of paint's malleability. Yet Gringler's works are eminently painterly. The shimmering fragmented reflections and discreet additions of sprayed on colour evoke the energy of gestural abstraction while paired with severe and formal compositions. The work tends to be anchored by a cross or X form, which recalls the painterly mark while simultaneously denying it.
Such considered oppositions are part of Gringler's conceptual framework. By allowing the limits of his chosen material to help dictate composition, the work contains a formal rigor allowing the turbulent surfaces to transcend their own materiality. With a nod to the digital environment, Gringler's practice also cannibalizes his large-scale works by using cut-up photographs to produce collages that in turn become studies for new large-scale works. "The source and the result simultaneously become the same and not the same. The original becomes lost as the language moves in a cyclical fashion."
Gringler's recent body of work includes two Plexiglas 'copies', essentially questioning the supposed expressive nature of painting. Also included is a recent sculpture where Gringler has built a utilitarian workbench with a mirrored face. The bench was used to produce the Plexiglas works for the exhibition and then upended and accented with a fluorescent light, effectively mimicking the composition of the paintings.
Jason Gringler was born in Toronto in 1978, and graduated from OCAD in 2001. He has held numerous solo exhibitions in the US, Germany, Canada, Spain and Italy most recently at Brand New Gallery in Milan. Upcoming solo presentations of Gringler's work are scheduled for Munich, Cologne and New York. Recently his work has been reviewed in Artinfo, Flash Art and The Financial Times. His work is represented in the public collections of BMO Financial Group, Artothek Cologne and the Department of Foreign Affairs and International Trade, among many others.
you can check out his work on Angell site...
In the West Gallery...SuperAbstraction
October 4 - November 9, 2013Opening Reception: Friday October 4, 6 - 9pm
Bradley Harms, Daniel Hutchinson,Derek Mainella, Kenneth Emig,Kineko Ivic, Neil Harrison,Vessna Perunovich
SUPERABSTRACTION is an exhibition showcasing 7 artists working in abstraction. The exhibition will be taking place at ANGELL GALLERY throughout the West Gallery space. An opening night reception will be held on October 4 from 6:00 to 9:00pm - SAVE THIS DATE!
Critic and curator Robert Storr describes abstraction as "one of the great inventions of modern art," and interest in this enduring form is stronger than ever. MoMA, the Guggenheim, the Museum of Contemporary Art (LA), Musée d'art contemporain de Montréal, the Walker Art Center and the Museum of Contemporary Art in Chicago are just a few of the major institutions to recently host significant surveys of abstract art.
SUPERABSTRACTION presents a snapshot of how abstract art is evolving. The featured artists, both Canadian and international, draw inspiration from 20th century abstraction, while embracing 21st century materials, technologies and concepts.
Painting remains a mainstay, but the pervasive influence of technology has seeped into the vocabulary, surfacing alongside influences from classic modernism. In the vibrant canvases of Bradley Harms, opaque prisms of popping colour alternate with striated elements, evoking both the ordered structure of pixels and the chaos of digital information overload. The resulting dynamic tension is shored up by Harms' clever engineering of perceptual shifts between surface and depth.
Daniel Hutchinson also looks to the wired world to inspire and illuminate (literally!) his paintings. Using software to fracture images of natural phenomena into elemental forms, Hutchinson then reconfigures these shapes in deep monochrome tones, using carefully orchestrated brushstrokes that catch the light. Custom fluorescent light fixtures illuminate some works, adding a ravishing iridescent shimmer.
The paintings of Neil Harrison are sparingly elegant interpretations of geometric abstraction. Drawing from signs and symbols ranging from corporate logos to tantric painting, Harrison paints newly imagined figures using powdered graphite and oil paint on raw textiles. The embodied studied oppositions - negative/positive, inside/outside, familiar/new, tactile/conceptual, are held in taut suspension by a square frame.
Economy of means also characterizes the painting of Derek Mainella. Updating the torn painting concept pioneered by Italian artist Lucio Fontana, Mainellastrategically rips into a canvas painted a brilliant flat yellow. The torn fabric and the void it leaves behind play against the painting's surface in a one-liner whose wit belies the simplicity of its execution.
By contrast, the paintings of Kineko Ivic bristle with a richly worked raw energy reminiscent of l'art brut. Thickly textured bumps, patches, scratches and splashes sprawl and brawl across the surfaces of his paintings, in a 'Neolithic man meets inner city alley' mash-up.
The contemporary materials palette of abstraction today is illustrated by the work of sound and light artist Kenneth Emig, whose architectural light boxes incorporate strategically placed lights and mirrors that produce an infinity of reflections. With each step the viewer takes, the glowing shapes appear to shift, resulting in an engaging 3-D update of 1960s Op Art.
A conceptual approach to abstraction marks the work of Vessna Perunovich. Using thread as drawing material, Perunovich creates wall pieces that make meaning through form and process. Thread, a material that is fragile yet flexible, signifies human vulnerability and resilience. Laboriously manipulating thread into shapes such as the circles in Two Worlds, the artist alludes to the state of exile experienced by those forced to flee their homelands due to conflict.