by Andriy Bilenkyy
Häussler’s exploration of the artistic value of fictionality, simultaneously dissimulated and exposed, sits well with the theoretical concerns that could motivate her character, Sophie La Rosière, – if she was more than an artworld entity, of course.
by Jordan Fee
I try to put so many layers into my works, so even if you only get two or three of them the first time, it still goes deeper and deeper.
by David Saric
Ryerson Image Centre’s latest curatorial effort, simply titled Climate Change, confronts many ecological concerns head on, displaying its socially conscious inclinations for all to witness.
by Emese Krunák-Hajagos
Dorland’s vision of a forest, or other parts of nature, is very different from any realistic or idealistic view – he brought drama into nature. Even in his landscapes he wants “to tell his own story.”
In this solo exhibition, Dina Torrans presents her most recent collection of heirlooms, botanicals and artefacts. She has employed stone, bronze and her usual array of mixed media to create these new works.
by Megan Kee
Using performative and allegorical processes, described as such by curator Luis Jacob, the work explores how the artist’s conditions have shaped their sense of place.
by Elizaveta Mironova
Wood brings out the dramatic and almost shallow aspects of society while Husar pulls on engrained historic elements of womanhood. Both are excellent colorists and mesmerizing painters.
by Andriy Bilenkyy
A Fine Line makes death acceptable and even fashionable in an aesthetically pleasing, technically sophisticated, and meta-artistically rich way.
by Nika Teper
Mark Stebbins’ artwork evokes intrigue in it’s material plasticity, subject amalgamation and small scale.
by Jordan Fee
In these paintings, Lonn evades the purely abstract and places an emphasis on the notion of meaning making. The paintings in Khrome seem to suggest a possible truth; however, it is the viewer that is given the choice to decide just what this truth might be.
by Carter Brown
The scenes portrayed are both in natural and city environments mainly in the Czech Republic, the artist’s birthplace, where he visited for the first time this year since immigrating with his family 49 years earlier.
by Simon Termine
Hendeles not only offers a glimpse into the complex development of the “pig” in human civilization; she exposes much of the controversial, characteristically “vulgar” underbelly of the human condition, or rather the potential it has to descend to the begotten level.
