Well known Canadian artist Claude Breeze put together a show of small works for Yumart Gallery. Attendees were clearly excited by the artist’s presence, as this is the first time Breeze has chosen to showcase his work to the public in a long time.
Each piece stands by itself, as the artist himself noted that this exhibition did not present a cohesive series, but rather a collection of what he has worked on in his highly productive retirement. Despite the independence of each piece, they all possess a story behind them that can be garnered from the analysis of the mixed-media images. All seek to present commentaries on social issues, fading beauty among them. “Don’t Forget Me” takes an image of a young woman and merges her body with patterns of wood, that has been damaged and faded through time. Through this work Breeze explores the social presence of young models in the media.
Claude Breeze, Don’t Forget Me, 2015, crayon, charcoal on printed image on canvas, 27″ x 19″. Image courtesy of Yumart Gallery
The commentary on the position of women ran throughout the exhibition. “Don’t Take My Skin” shows an advertisement that went awry. Although the distorted woman already is seen presenting her body to the viewer, Breeze takes the photographer a step further with his manipulations and makes it less about the female’s body as a commodity, but rather a woman who has been damaged and adjusted consistently to a point when she became unrecognizable.
Claude Breeze, Don’t Take My Skin, 2015, crayon, charcoal on printed image on canvas, 27″ x 19″. Image courtesy of Yumart Gallery
Breeze also explored images that are paired in two while also approachable as singular pieces like “Junk Window: Family Photo”. The parts of the abstract diptych display a continuous image that the viewer might not recognize until they are placed side by side. The artist explained how the images work independently, placed in corners or together, hanging next to one another.
Claude Breeze, Junk Window: Family Photo 2012, diptych, each canvas; crayon, on printed image on canvas, 19″ x 15″ each. Image courtesy of Yumart Gallery
While most of the smaller artworks where produced in 2014-2015 Breeze also included older works which had not yet been exhibited such as the graffiti style, “Beyond Signs: Captain Was Here” from 2001-2002. It stands out by its immense size and style. While the other pieces play with line usage and photograph distortion, this one is done in acrylic paint and represents the ghouls that lurk over authoritative presences. Despite its differences it still seeks to comment on social issues as the others do, however, it also shows how Breeze’s work has changed over the past decade.
Claude Breeze, Beyond Signs: Captain Was Here, 2001-02, acrylic on mylar, 27″ x 39″. Image courtesy of Yumart Gallery
Overall all the works serve as great examples of the immense artistic talent of Claude Breeze. Although he has not publicly presented his works for a number of years it is clear that in the art world he is always a welcome presence whether at smaller intimate galleries like Yumart or larger spaces like Canada’s National Gallery.
Rhiann Moore
*Exhibition information: March 5 – April 2, 2016, Yumart Gallery, 401 Richmond St. West, Suite B20, Toronto. Gallery hours: Tues – Sat, 12 – 6 p.m.