Ryan Van Der Hout’s exhibition, Mending Shards, at United Contemporary is an ode to the breakage and reconstruction of the self. The intricate and meticulous glass and metal works that animate the walls of the space incite a conversation surrounding personal transformation and growth. The show conveys a sense of intimacy and vulnerability. Each piece expresses emotional openness, and is rooted in an exquisite materiality through the photographs of captured intimacy and the intriguing composition and craftsmanship.
Installation view of Ryan Van Der Hout, Mending Shards in United Contemporary. Photo: Sofia Diaz Aguilar
The artworks convey a sense of soft tension created by the tenderness of the photographs and the sharpness of the torn glass. This tension incites curiosity and, I think, invites the viewer to get closer to the works where one can appreciate the intricacy of it: every scratch on the glass, every dent of the welding, every layer of the image. Eventually, one steps back again, to contemplate the project in its wholeness. Because of the deliberate use of reflective surfaces such as glass, metals, and mirrors, the viewer finds themselves reflected in the work, becoming a part of the narrative, a fragment of the breaking and mending that the artist is exploring.
Ryan Van Der Hout, Held Memory, 2024, UV print on glass, solder, copper, stainless steel, varnish, 36 x 36 x 2 in. Courtesy of United Contemporary
The process of shattering and repairing is a central theme, especially in one of these pieces, “twice broken glass” where two identically broken glass panels hang from the ceiling. To create this piece the artist randomly shattered one of the glass panels and proceeded to glue the salvageable pieces back together. Later he took the second panel and recreated the brokenness inflicted on the first one, resulting in two twin scarred panels. There is a compelling essence and conversation about the violence that exists within repair, and the repair that is present in violence, giving the work a tingling aura of hope.
Ryan Van Der Hout, twice broken glass, 2024, glass, solder, copper, stainless steel, zinc, 41 x 30.5 in (x 2). Photo: Sofia Diaz Aguilar
A new meaning of the term ‘full’ or ‘complete’ is born when the shards of glass and the metal reconnect, providing the artworks with the opportunity to be reframed. The artist employs pink stained glass and mirrors to act as scar tissue in the new format of the once full photograph, giving it a different version of fullness. The use of pink stained glass is notable, because, as the artist stated, it is a medium that only becomes full through its brokenness. The materials used in the pieces are not just a stage for the message, but they come together and hold a close-knit connection that in turn transmits a stronger narrative.
Ryan Van Der Hout, soft seam, 2024, UV print on glass, solder, copper, stainless steel, varnish, 31 x 31 x 2 in. Courtesy of United Contemporary
There is a piece titled “the shattering”, that stands in the center of the exhibition space as a lightning bolt that crashes through the room. It conveys movement and stillness at the same time with pieces of shattered glass suspended in the air held by welded metal and hefty metal rods that span from the floor to the ceiling, providing some stillness to the airiness of the glass. The work is inspired by the beginning of the universe and the artist said it was likely the most complicated piece to put together. He explained, that he had an idea of what the artwork should be, but it had its own mind and wanted to go in another direction. Van Der Hout had to relinquish his preconceptions of the piece and let it take control of the form it wanted to become, which, I think, goes perfectly well with the whole narrative that unveils in the exhibition.
Installation view of Ryan Van Der Hout, Mending Shards with “the shattering”, site specific installation, steel, UV print on glass, copper, solder, stainless steel, height 10ft (x2) and width of approximately 12 in (left) in United Contemporary. Photo: Sofia Diaz Aguilar
The most distinct piece in the show is “the sea will not open that way”, as it is the only one that does not employ glass. It is composed of rough cut sheets of metal mounted down the wall and onto the floor creating a still metal waterfall. In this piece, the daintiness and fragility of the glass is missing, but I find that these qualities are reflected in the movement that the edges of the ‘torn’ metal evoke. It is an extremely dynamic piece that stands out from the rest but it still fits perfectly into the conversation the show embraces.
Ryan Van Der Hout, the sea will not open that way, 2024, Steel and Mirror Finish Stainless Steel, 120 x 48 x 20 in, detail. Photo: Sofia Diaz Aguilar
Each piece in Ryan Van Der Hout’s show has a unique voice and tone that relates to the people captured in the pieces, the varying shards of glass and the distinct way of mending them. The intimate and vulnerable ambience and comfortable aura that fills the gallery space is a truly unique experience that springs from the artist, his community, the artworks and the public. Every part that constitutes this exhibition invites one to ponder about transformation through ruptures and healing.
Sofia Diaz Aguilar
*Exhibition information: Ryan Van Der Hout, Mending Shards, November 14 – December 21, 2024, United Contemporary, 129 Tecumseth Street, Toronto. Gallery hours: Wed – Sat 11 am – 6 pm.