Sculptural “Approaches”

Approaches is a milestone. Celebrating its 87th anniversary, the Sculptors Society of Canada collected pieces from its members for a crowded night at the John B. Aird Gallery. It was quite a full opening with thirty two pieces and thirty two artists.

Participating artists from left to right: Desmond Scott, Andrew Pawlowski (hidden), Daniel Yu, Barbara Fletcher, Iain Downie (behind), Elaine Jaques, Judy Raymer Ivkoff, Brett Davies, Camie Geary-Martin (hidden), Gordon Becker (behind), Mary Ellen Farrow, Judi Michelle Young, Richard McNeill, Tim Manalo, j. Mac (hidden), John Clinton, Peter Shoebridge.

There is such a variety in the styles from traditional to contemporary, it feels as if looking at a book titled something like, “Sculpture Since 1900”. I started my round from the back and the first piece I spotted was a gorgeous portrait, titled Staff Sargent Minnit by Gordon Becker. It is carved with such skill that she looks so alive and young, as if wind is still blowing through her hair. The different texture between her face and uniform is important, highlighting her military uniform and the significance as the first female Staff Sargent. 

Gordon Becker, Staff Sargeant Minnit, walnut, maple wood

Near that is Gordian Knot – Greek Dilemma by Peter Wirün. It is a grotesque piece, in which a pair of legs stand bandaged to crutch, standing on a bundle of rope with a long knife stabbing through. On top of the legs is a smaller headless and armless body, with a dragon figurine going through across the arms. From the ceiling hangs a pointed weight that swings about 5 inches from the small body. It’s a highly complex sculpture containing numerous parts. It seems to be about discontent and frustration – perhaps a political commentary.

Peter Wirün with his Gordian Knot – Greek Dilemma, mixed media

Even though at first this quantity of works can be overwhelming, the works have been grouped accordingly. Figures, abstract, portraits, etc. After I saw the figures, I moved my way to the abstract. Iain Downie’s Starburst was quite a change of pace from the figures. Its lightheartedness and playfulness made the work seem quite out of place, even among the abstracts. Using yarn covered multi-pointed sticks, each of the separate pieces were placed on top of one another spontaneously and impermanently. It was reminiscent of the children’s game Knucklebones, both in aesthetics and the manner in which it was put together.

Iain Downie’s Starburst, wood, yarn

In the Wind by Tyzo David Taccalino is a large vertical metal piece with leaf-like panels broken by  holes melded together. It is intriguing because the shadow of the piece was more interesting than the piece itself. The original, unfortunately, is suppressed and repetitive. However, the lighting creates such a dynamic and lyrical qualities to the shadow, qualities lacking from the original.

Tyzo David Taccalino, In the Wind, metal

Past the abstracts is a group of small works, such as Eternity by Octavia Proca. It’s a very emotional piece where two small figures are embracing. However one of the figures is more abstract than the other. It looks as if either it is withering away, or being absorbed by the other. Regardless, it’s clear that it is eternity of the sad kind – a forever goodbye. Similarly emotional is Night by Marlene Kawalez, a delicate piece, portraying a translucent beauty sitting down gently on a beautifully tangled piece of grey wood. The palette is quite spectacular, and does not mute the piece at all.

Octavis Proca, Eternity, mexican alabaster

Dark Cloud by Daniel Yu shares this monotone palette, but like Kawalez’s, the piece is not reduced in effect. It is a very small carved piece of a cloud. It is pleasantly bulbous and the texture helps the piece stay afloat.

Marlene Kawalez, Night, wood, glass, quartz

Dark Cloud and its creator, Daniel Yu

Near the entrance is Peter Shoebridge’s Run greeting visitors. It is quite a statement, consisting of a small terracotta figurine attached to a wood panel. The tall and vertical wood grounds the whole piece while the female figure flies through with wind in her hair. The piece is quite liberating actually, as the figure leaves whatever is behind her, sprinting forward, away from negativity and the past. It is fitting as the theme of the show, as the Sculptors Society of Canada celebrates its anniversary, but at the same time moves continuously forward into its 88th year, bringing new ideas and aesthetics.

Peter Shoebridge with his terracotta sculpture, Run 

Sunny Kim

*Exhibition information: August 25 – September 25, 2015. The Sculptors Society of Canada celebrates its 87th Anniversary Members’ Exhibition. John B. Aird Gallery, Macdonald Block, 900 Bay St (at Wellesley). Gallery hours: Mon – Friday, 10 a.m – 6 p.m.