The Art Dealers Association of Canada Inc. (ADAC) is a national not-for-profit
organization founded in 1966. ADAC is the only National Association of art dealers representing artists throughout Canada. ADAC maintains
a high standard of connoisseurship and adherence to ethical practice within the profession. Dealers are selected for their knowledge and
scholarship in their respective fields of expertise.
The ADAC mandate includes stimulating the art market in Canada, and encouraging the awareness of the visual arts both nationally and
abroad.
Newzones is pleased to present "Chrominance", a solo exhibition by Anda Kubis.
Part of the new Abstraction movement in Canada, Kubis continues her play with colour, space and illusion. Due to the prominence of colour in her work, her research considers how a conscious engagement with aesthetics and creativity positively impact human flourishing and quality of life.
In addition to her painting practice, Kubis explores new media through a digital process that creates the foundation from which this new body of oil paintings and digital prints are produced. In finished form, the digital paintings exist beyond the screen where they are entirely informed by the digital software, chroma and layers, which modelled their creation. Although inspired by a digital source, the colour is material and substantial. The luminance - the glow within - is created through Kubis’ intentional play on hue and value perception. Colour is a positive means of aesthetic expression through mixing new and traditional approaches to image making.
Born in Toronto, Ontario, Anda Kubis received her BFA from Nova Scotia College of Art and Design and her MFA at York University. For eight years, Kubis taught at York University and at the University of Lethbridge in Alberta. Currently, Kubis is the Associate Dean of Outreach and Innovation in the Faculty of Art at OCAD University. In this role, she manages and develops the many external relationships that support rich opportunities for students and faculty members in the Faculty of Art.
Kubis' paintings have been widely exhibited across Canada in numerous solo and group exhibitions. Her work can be found in private and corporate collections throughout North America.
Newzones is pleased to announce “Distant and Familiar”, a solo show by Samantha Walrod.
Drawing from her experiences throughout urban and rural Alberta, Walrod creates collages that are not faithful reproductions but instead imagined or reconstructed figures. Documented imagery from walks along Alberta's Edmonton River Valley are collaged with floral patterns found on Worcester china, or animals and flowers from various sources are layered together to recreate travels through the Rocky Mountains. "Distant and Familiar" is documentation that is recorded in a non-linear, nostalgic fashion.
The layers of materials act as a symbol of the mind's ability to retain detailed information, while at the same time, leaving certain elements unclear. In her own words, Walrod "reacts to the paintings with each layer or erasure, adjusting contrasting activity and quiet, opacity and transparency, chaos and balance". Tactility is very important to the artist's practice. Images are incorporated with collage and digital technologies, while maintaining the exploration of paint.
Samantha Walrod received her Master of Fine Arts from the University of Alberta in 2013. Her paintings can be found in various private collections across Canada.
Five Estates: Ted Godwin, Bruce Head, Kenneth Lochhead, Toni Onley & David Sorensen
Preview of Show: Thursday, September 22, 2016
Opening reception: Saturday, September 24, 2016: 2-5 PM
A play on the idea of the Fifth Estate: a reference to people who operate in journalism outside the "normal" constraints imposed on the mainstream media; the concept emerged around 1965.
This show comprises of recognized artists from Five Estates operating outside the "normal" constraints of ART. Pushing society's boundaries, and their own, these five artists all set out on different paths to express themselves, explore art & painting.
Show continues through to October 12, 2016
Newzones is pleased to announce "Tilt", solo show by Bradley Harms.
Bradley Harms' relationship with his materials is both intimate and nuanced. The paintings in "Tilt" incorporate his signature mark making, as well as new attention to the notion of surface perfection and spatial assertion. Often not immediately recognized, his preferred use of the unmeasured free hand frequently mimics that of mechanized techniques; however, the inevitable outcome of striving to achieve perfection is never quite attained. This imbues the work with a kind of wobbly-modernism: an earnest and authentic expression of both the artist's humanity as well as his yearning for the unattainable perfection. These paintings are rooted in the metamodern notion that we can have seriousness and humour simultaneously, success and failure simultaneously, as well as the handmade within our machine-driven aesthetic.
Bradley Harms has been on the frontlines of the new wave of Canadian abstraction for several years. Born in Winnipeg, Manitoba, Harms received his BFA from the University of Calgary and his MFA from the prestigious Art Institute of Chicago. His work has been exhibited throughout North America and Europe, and his paintings can be found in many public collections such as the Canada Council's Art Bank (Ottawa, ON), Alberta Foundation for the Arts (Edmonton, AB), the Nickle Arts Museum (Calgary, AB), University of Western Sydney (Sydney, Australia), Foreign Affairs + International Trade Canada (Ottawa, ON) and Glenbow Museum (Calgary, AB).
The gallery is pleased to present our second solo exhibition by Canadian artist Clive Holden.
“INTERNET MOUNTAINS” is a manifestation of Holden’s interest in the mechanics of time and perception. Although these video and photo-based compositions are computer-rendered and manipulated, they fit – uncomfortably but recognizably – within the long tradition of landscape photography.
Holden’s compositions explore concepts of scale, the relationships suggested by the implied permanence and impermanence of our world, the delivery of information, and the transformative effects of time on memory and geography. As such, Holden’s work invites viewers to engage with his art in an instinctual way:
“Traditionally, in a museum or in a home, the audience’s physical engagement with a work of art is assumed; they can stand, sit, fidget or walk away. I’m interested in making work that’s on the cusp of time-based and non-time-based, or that obliterates this dichotomy. I think of it all now as ‘post-durational’; the constraint of a fixed duration is abandoned in favour of a quality of liveness – of embracing chance and accommodating our impulsive nature as human beings.”
Growing up in British Columbia, Holden found early inspiration in the mountains and shorelines around his home, documenting the vistas he encountered. Rediscovered footage, filmed by the artist as an adolescent, coupled with inspiration from ubiquitous online alpine photography informs this ongoing body of work.
Holden’s software-based generative artworks, chromogenic prints, videos and films have been exhibited at: transmediale (Berlin), the Gardiner Museum/CONTACT Festival (Toronto), the Foreman Art Gallery of Bishops University (Sherbrooke), Images Festival (Toronto), the International Film Festival Rotterdam, the Art Gallery of Mississauga, the Ryerson Image Centre (Toronto), the European Media Art Festival (Osnabrück), CPH:DOX Copenhagen Documentary Film Festival/Danish Film Institute (winner of the New Vision Award), Anthology Film Archives (New York), Kino Arsenal (Berlin), the Muziekgebouw (Amsterdam), Light Industry (Brooklyn), the London International Film Festival, Toronto International Film Festival, the Pacific Cinematheque (Vancouver), and the Bienal Internacional del Cartel en México (Mexico City).
Galerie D’Este is pleased to present a solo exhibition by artist Cynthia Dinan-Mitchell who creates vibrant, abundant work in which vegetables, ribbons, birds and precious stones tumble together in compositions as heterogeneous as they are harmonious. Each piece in the series Botanical Bend constitutes a unique and compelling world that invites the viewer to come in, stay awhile, not worry too much... but maybe worry a little.
Letting a little bit of poetry into a day-to-day that can often seem distinctly unenchanting, these works offer a respite from the endless flood of images of catastrophe, deprivation, and corruption that surrounds us. They are beautiful, but never superficial; critical without being cynical. They simply suggest we try something else by presenting an alternative ordering of familiar elements.
Here, Dinan-Mitchell is inspired by vintage illustrations such as those seen in old encyclopedias and botanical textbooks. We contemplate these drawings as we would the pages of a sketchbook – perhaps that of an explorer charting new plant, animal, and mineral specimens. The artist’s “impossible gardens” turn that same timeless and wondering gaze on the modern world. With her bittersweet blend of nostalgia and noophilia, Dinan-Mitchell reminds us of the fragility of life, but also assures us of the endless energy of renewal.
Dinan-Mitchell holds a B.A. from Concordia University and a Masters in Visual Arts from Laval University. She has participated in numerous solo and group shows in Canada and internationally including at Musée national des beaux-arts du Québec, Belém Museum and Cupar Arts Festival in Scotland. She has received many grants and awards such as Videre-Relève and Plein Sud prizes en 2011. Her work can be found in the collection of the Musée national des beaux-arts du Québec, the City of Montreal and the Bibliothèque et Archives nationales.
Text by Anne-Sophie Blanchet, art historian (Free translation)
