Road to Ruin at Cooper Cole

Cooper Cole joins the gallery migration process as he reveals his new space on Dupont and Dufferin, with Road to Ruin, a large group show, with a heavy infiltration of American artists.

The entrance is met with a tall lean sculpture hanging from the ceiling, joined by a pot with a hot plate on the ground. “Hot Pot Charmer (Flamingo)” by JPW 3 includes chains intertwined with rope and popcorn, encased in melted wax. It is a frozen performative piece, stuck on a loop, that greets the viewer with a loud presence, by reintroducing everyday objects in an odd and surrealist combination. Jeremy Jansen’s “Charm Bracelet” made up of a detailed assortment of metallic and rusty tools, chain linked fence, wires, with gears behind it, hanging on the wall while Ryan Foerster’s “Failed Laminating Photos, Fuck Holes” free stands on the grey cement ground. Reminiscent of Jackson Pollock’s paintings on glass, this sculpture let’s the viewer walk around it, and observe the alternative photographic process that Foerster has captured. It is a loose collage piece of photographs, wooden frames, metal tubes, paint splotches or the remains of acidic reactions, accompanied by perfect round holes filling in the gaps between the rectangular images. These pieces offer the viewer a chance to observe their delicate and intricate compilation, while the simplicity of the graffiti inspired eye by Anne-Lise Coste, hanging on the wall, offers a quiet break.

Jeremy Jansen, Charm Bracelet, 2013, Chain link fence, steel, copper, rubber, plastic and other various found materials, steel hooks, 91″ x 56″ x 12.50″

Ryan Foerster, Failed Laminating Photos, Fuck Holes, 2012, Mixed media, 44″ x 33″ x 7″

The gallery is broken up into smaller sections through various angles, with sculptures littered around. In the next smaller room, a sculpture by Brie Ruais rests against the crevice of two walls adjoining. “Corner Push (White)” stands tall at 75 inches, heavy at the bottom, stretching thin as it reaches towards the ceiling, reminding the viewer of “Hot Pot Charmer”. Hundreds of footsteps are immortalized in this white ceramic sculpture, a dynamic action that has been fired into a stationary moment against the adjoining walls.

Brie Ruais, Corner Push (White), 131 lbs, 2014, Glazed ceramic, 75″ x 16″ x 14″ (left) and JPW 3, Hot Pot Charmer (Flamingo), 2014, Wax, metal chain, rope, popcorn, hot plate, hardware, dimensions variable (right)

A freestanding sculpture of legs dressed in red pants and black canvas by John Riepenhoff supports a silkscreen print by Jesse Harris of a hand with a middle finger going through a dollar bill, wearing rings. By the set of stairs leading to the second floor, a sculpture by Marlie Mul hangs in an inconspicuous area. It could be easily overlooked, as it camouflages itself as a steel cover keeping something dangerous out of reach. It is made noticeable only by a spotlight, and the cigarette butts hidden in tiny slits. Screwed into the wall, this familiar outside scene has successfully snug indoors. 

John Riepenhoff, Handler, 2015, Wood, wire, cloths, shoes, fiberglass, clamp, 50″ x 14″ x 16″, supporting Jesse Harris, Evergreen, 2015, Silkscreen on canvas mounted to silkscreen, 48″ x 40″

Marlie Mul, Air Vent/Butt Stop (Mainstream/Sidestream), 2015, burnt steel, paint, glue, ash, cigarettes, 47.25″ x 23.63″

The journey upstairs is interrupted by a tall painting on plexiglass by Sara Greenberger Rafferty, of watercolour and hazy knives slicing a silhouette of a female figure, fragmenting her into pieces. The upstairs is a small makeshift space with plywood floors. Two of Martin Soto Climent’s sculptures rest on tall pedestals. “Monster” and “Modelo” include a can of each Monster and Modelo where part of the faces are cast in plasticine and attached to the can. The drinking hole becomes the face’s mouth, as a plastic eye rests wide open on top. A minimalist temporary object that is usually thrown out becomes animated here. The sexual and uncomfortable appearance reminds us of grotesque sex dolls.

 Sara Greenberger Rafferty, Window Piece, 2011, Direct substrate print on Plexiglas and hardware, 74″ x 35″

Martin Soto Climent, Monster (left) and Model (right) 2014, aluminum can, plasticine, plastic eye, dimensions variable

On the ground Jenine Marsh’s round concrete slab rests on top of a pile of flowers that have been pressed into the concrete, like a wet cement sidewalk inviting pedestrians to write a love poem. While in the corner, up a couple of more steps, a small SONY television resting on the ground plays a video made by Gee Vaucher in 1978, titled Semi-Detached. Various recordings of an older punk band called Crass, edited into repeating images in a purple filter. The wide variety of artists offers an exciting walk through, a never ending discovery of something new.

Tetyana Herych
Images are courtesy of Cooper Cole Gallery

*Exhibition information: June 10 – July 18, 2015, 1134 Dupont Street, Toronto. Gallery hours: Wed – Fri: 1 – 6 p.m., Sat: 11 a.m. – 6 p.m.