Joachim Bandau is an internationally celebrated sculptor and painter. Working with minimalist shapes and a restrained colour palette, Bandau applies his materials in unexpected and non-traditional ways. His precisely controlled and multi-layered watercolours take months, sometimes years, to complete as each layer must be carefully applied across a dry surface. Each of the resulting paintings contains its own movement and rhythm that depends on the direction and depth of the layering process. Music, specifically classical, is one of Bandau’s primary influences for his black and white watercolour series.

Born in Koln, Germany in 1936, Joachim Bandau currently lives and works between Achen, Germany and Staefa, Switzerland. His work has been exhibited internationally including at Le Centre Pompidou; Neues Museum, Nürenburg; Kunsthalle, Basel; Sammlung Kunst aus Nordrhein-Westfalen, Aachen; the Drawing Centre in New York; Kunst aus Nordrhein-Westfalen Berliner Kunstverein and Documenta 6. Museum collections include Le Centre Pompidou, Paris; De Young Museum, San Francisco; Museum Ludwig, Cologne; Ludwig Forum für Internationale Kunst, Aachen; Museum van Heedendagse Kunst, Antwerp and the Kunstmuseum Basel.

https://metiviergallery.com/exhibitions/252-joachim-bandau-aquarelles/press_release_text/

Tamara Bond: Plants and Animals

November 22 - December 6
Opening Reception: November 22, 1-3 PM

In this collection of 16 new paintings, Tamara Bond draws inspiration from the natural world, the subconscious, and a deep love of colour. Drawing on the success of her 2024 solo exhibition, Bond uses her own visual language of symbols that mix and intersperse throughout these small format paintings. The repetition and intermingling of these symbols allows Bond to weave a cohesive narrative, allowing each painting to build upon the last and create endless stories.  

https://www.madronagallery.com/exhibitions/tamara-bond-plants-and-animals

Gallery Artists

17th Annual Silent Art Auction

Friday, November 21st – Saturday, December 6th, 2025

Kostuik Gallery invites you to partake in our

Annual Silent Art Auction!

BIDDING BEGINS:  Friday, November 21st

BIDDING CLOSES:  Saturday, December 6th at 3pm (Pacific Standard Time)

It’s the one time of year we offer the chance to acquire works from our gallery artists ranging from $200 to $4,000, starting at 25% less than their original value.

Bidding: You can make your bid in person, by email or telephone. You don’t ever have to be present to bid or finalize your bid; the gallery will act as your proxy. You let us know if you only want to place an opening bid, choose a certain $ level, move your bid to another piece of art, or go for full value. Minimum bid increments are $100.

35+ Silent Art Auction works to view in the Gallery and our Website.

Inquire for more details! View videos and posts: @jkostuikgallery on Facebook & Instagram.

BID UPDATES posted in the gallery or on our dedicated webpage www.kostuikgallery.com

We ship everywhere!

Join us for our Holiday Party: Saturday, December 6th, 2pm – 3pm

Where we invite you to close your bids in-person!

Bidding closes at 3pm sharp.

https://www.kostuikgallery.com/

Come join us at 1663 Brunswick St. for our 53rd Annual Christmas show. There will be treats, drinks and kittens, and some art. Come celebrate the season with the Zwicker’s Gallery family.

https://zwickersgallery.ca/exhibitions/

This December, Nicholas Metivier Gallery is excited to announce Autres Territoires, an exhibition of works by Moridja Kitenge Banza, Emmanuel Osahor, Moses Salihou, Marie‑José Gustave, and Michaëlle Sergile originally presented at the Canadian Cultural Centre in Paris, France in June 2025. 

Curated by Catherine Bédard and Joséphine Denis, this exhibition brings together five Canadian artists of African and Caribbean origin, and was highly celebrated in the French press. 

https://metiviergallery.com/exhibitions/253/press_release_text/

https://godardgallery.com/exhibitions/57-david-milne-paintings-and-watercolours/

Fazakas Gallery is pleased to present War and Peace, and Smoky the Cowhorse, a solo exhibition by Métis artist Jean Paul Langlois. 

The exhibition's title originates from a conversation with Langlois' mother, who, when asked about her favourite book, replied without hesitation: "War and Peace," before adding, "…and Smoky the Cowhorse." Now 85 and living with Alzheimer's and vascular dementia, her unexpected answer struck Langlois as both humorous and profound. For the artist, this unlikely pairing captures the paradoxes that define his life and practice: the duality of Métis identity, the contradictions between his parents' worlds, and the tension between the complex subject matter of his work and its playful, saturated execution.

Based in East Vancouver, Langlois' work explores the juxtaposition of his Métis and Scottish settler heritages through vibrant pop culture motifs and ultra-saturated colour schemes. In this exhibition, Langlois brings together works from across his current projects which explore family histories and the alienation to his Indigenous and settler backgrounds. Central to the show is a narrative series recounting the story of Henry Vivier, a Métis father from North Dakota who stormed a residential school to reclaim his children at gunpoint. While not directly autobiographical, the story resonates deeply with Langlois' personal history, evoking a dream of his own great-grandfather rescuing relatives from the St. Bernard's Residential School in Grourard, Alberta.

https://gagnecontemporary.com/ 

https://www.robertsgallery.net/exhibitions/

“To describe Tim Whiten as a sculptor or draughtsman in the accepted meanings of those terms is simply not relevant to his present aims and procedures or to the objects themselves.

In his work, Whiten seems to have found a way to strike a balance between the Sacred and Profane. The result is a simultaneous embrace of the intimate and the infinite, the everyday and the sublime and access for the viewer to new vistas.

At times one can recognize a surrender to a greater power which can be both illuminating as well as frightening, but it also must be said that the work seeks to return the act of making and experiencing Art to the historic notion of a means of unification with the Divine.”

-Michael Greenwood

https://www.olgakorpergallery.com/exhibitions/tim-whiten-solo-exhibition/

Empowered, circa 1950 © Rex Frost / courtesy Stephen Bulger Gallery

Exhibition Dates: Saturday, November 1 – Saturday, December 20, 2025

Stephen Bulger Gallery is pleased to present “Canadian Photographs: 1950 – Present”, a group exhibition.

Recent events have encouraged Canadians to reflect on the significance of our country. When we think of the places, people, and events that have shaped our collective memory, photographs often come to mind. In support of this reflection and to inspire deeper appreciation, we present a selection of works that highlight the evolution of photography over the past seventy-five years and its important role in documenting history.

This exhibition primarily features photographs taken in Canada. Organized chronologically, the exhibition includes original examples by photographers who exhibited in camera club salons during the 1950s and 1960s, and explores the continuing influence of documentary practice from that period to the present. It also traces the rise of photography accepted as art, and the growing prominence of colour photography in the final decades of the 20th century.

Photographs from the 21st century highlight the diverse practices of people using both analogue and digital photography to document the world around them and to express personal thoughts, emotions, and ideas.

The exhibition features work by Eldred Allen, Doug Ball, Phil Bergerson, Robert Bourdeau,  James Borcoman, Jessica Bradley, Peter Bregg, Reva Brooks, Robert Burley, Lynne Cohen, Scott Conarroe, Sylvain Cousineau, Donigan Cumming, Lutz Dille,Henri Durand, David Evans, Evergon, Robert Frank, Rex Frost, Charles Gagnon, Pierre Gaudard, Tom Gibson, Fred Greenslade,Richard Harrington, Isobel Harry, Joseph Hartman, Fred Herzog, David Hlynsky, Geoffrey James, Yousuf Karsh, Albert Kish, Shaney Komulainen, Ivaan Kotulsky,George Legrady, Rita Leistner, Christina Leslie, Randal Levenson, Nina Levitt, Peter Martin, John Max, Sanaz Mazinani, Wynne Neilly, Shelley Niro, Louie Palu, Cyril Ryan,Michael Schreier, Volker Seding, Orest Semchishen, Vincent Sharp, Andre Sima, Barbara Spohr, Gabor Szilasi, Sam Tata, Jeff Thomas, Larry Towell, Peter Varley, and Harry Waddle. This is the second of two related exhibitions; the first, “Canadian Photographs: 1900–1950,” was presented in the summer of 2025.

https://www.bulgergallery.com/exhibitions/242-canadian-photographs-1950-present-a-group-exhibition/overview/

https://gallery78.com/products/molecular-to-cosmic-19687?variant=42126014316631&country=UA&currency=UAH&srsltid=AfmBOorz7sy7G0uIcalDAcLd36KqvsGj2l3BaAFGiy0jj84w65T3rPFX

https://gallery78.com/collections/paul-healey

https://www.slategallery.ca/exhibitions-calendar/d5e62jejmwp47meldd48a2bber9kxb

The Statement

Exhibition text by Dr. Kaitlyn Purcell, Writer 

Sling Shots and Star Dust

Nathan Eugene Carson pours through piles of whole fragments, surrounded by endless paintings on the floor, loose pieces and silhouettes, paper or cardboard strewn in alleys.

Layers of paint are added sparingly whenever he is called to it. He says he is not much of a paint brush person.

Some pieces are feathered together across a decade. The self-assured artist lets these pieces sit for as long as necessary until a future self finds a thread between past and present.

What visions are unearthed in you when you look into this mirror—this portrait?

The work is profound in the ways the artist pieces together these faces, scrubbing the page, creating cracks and holes. The background becomes the foreground. There are no linearities, only a circling around what is needed.

The didactic says, what do you feel standing here?

Collage has a long history from Black artists and Dadaism, but throughout each of these specific art movements is a shared impulse to respond to the horrors of the world with carefully ripped pages and cut outs.

In our conversations, the artist shares that his aunt, Robyn Snow, inspired him through her own practice with collage.

There is a futurism in Carson’s use of texture and layering created by the directions of his heart. Raised by women, he finds it easy to be in his feelings.

These are collections of little mirrors that once looked more like cardboard and expired gift cards left in alleyways.

If we look closely, we might begin to see that each collage teaches us how to move through life more curiously.

Everyone’s interpretation will become a portrait of their own.

Carson’s process is being surrounded by spirit and expired gift cards left in silhouettes. He is a scholar of emulating air.

Stepping into the artist’s world, to feel and see the immensity of its texture, I have never found myself so moved before. All the hair on my body raised up and tears began to fill my eyes.

The artist pieces together collections of little mirrors that once looked like a hundred papers and paintings on the floor. Loose fragments of alleyways.

In a place swallowed whole by categorizations, Carson’s work reminds me that it’s not again that it’s not even real. We are all star dust, remember?

Even the cartoons would allow themselves to reimagine the hands that built their faces and hues. Soon the whole room is in their feelings.

Anyone that has the chance to learn from Carson through his artwork or his presence will be transformed for the better. Or at least, that is my experience.

His perspective has opened my eyes in ways I haven’t considered, or considered out loud, until now.

Almost everything has become diluted and dulled by mind and money. The heart, intuition, and spirit have been undermined and degraded.

Step into this artist’s world—a refuge away from it all.

Carson’s practice lives within his vision opened by heart and spirit. It led him here.

This is the future I’ve been dreaming of.

Sling Shot is a collection of all the different people in his life working as a server, teaching children, and as an artist. Shannon Norberg once said to him, “Let’s be wise like a serpent and as calm as a lamb.”

There is restraint without any sense of being restrained. He cherishes each expression and image that fills his days, and only pieces together what feels right.

The sling shot is a mischievous toy, but it is also a playful way to shoot something forward. Sling Shot is Carson’s shot forward into a new phase of his life.

Each page is weathered with care. Each paper has been held, and placed into a pile for a year, or ten, before finding itself back into the artist’s hands once again.

If we look at the foreground, there are no linearities, only a circle that teaches us how to move more curiously. There is tension in this unity.

Never been so moved before. All heart and spirit, once undermined, now fill my eyes.

When I showed my three-year old nephew some of the artwork I have been writing about, he was fascinated by all the different pieces and when looking at Deep Sea Diver he burst into giggles and said, “I love that one!”

I wanted to ask more, but I also just wanted to enjoy that moment. I, too, giggled and cried from the inside and out when standing with Side Eye and Slightly Unhinged Patient Hasn’t Slept in Months.

https://norberghall.com/nathan-eugene-carson-sling-shot/

Current Exhibition

Rhys Douglas Farrell

LUMINANCE​

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November 22, 2025 to January 10, 2026

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​​​​Exhibition Preview Rhys Farrell​

​LUMINANCE

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Rhys Douglas Farrell received his Bachelor of Fine Arts (major in Painting) from the Alberta University of the Arts in 2016. Farrell was the recipient of a painting scholarship from the University where he was also the Representative for the Painting Department and the Director of the Student Gallery. He was signed on with the Herringer Kiss Gallery when still a student and his first solo show was named by Canadian Art Magazine as a “Must See”.  He was then featured in a 7 page spread in Branded Magazine in the summer 2016 and in 2019, Farrell was the recipient of the Alumni Horizon Award from AUArts. Farrell has completed a number of public art projects including Telus Spark Science Center, Beltline Urban Mural Project, the City of Calgary and a number of private commissions. His work has been aggressively collected by private and corporate collections alike and he has completed five international residencies with Pinea & Linea De Costa A.I.R program in Spain, Graniti Murales in Sicily, TARP Program in Kuala Lumpur with Taksu Gallery and Jupiter Fab Artist Residency in Guadalajara, Mexico. His works can be seen at Hello Sunshine Restaurant in Banff,  Lonely Mouth Restaurant in Calgary and he recently placed a diptych at the Ford Motor Company’s Visitor Centre outside Detroit, Michigan.

In Luminance, Rhys Douglas Farrell invites viewers into a radiant world where light becomes rhythm, color becomes experience, and perception itself begins to shimmer and shift. Drawing from the legacies of 1960s Op Art and the chromatic sophistication of color theory, Farrell transforms visual space into a pulsating field of optical sensation - part painting, part vibration, part dream.

Inspired by the crystalline structures of light and the glossy nostalgia of Japanese City Pop, Luminance hums with a musical energy. Each work fractures color into prismatic harmonies, like refracted sound. The compositions pulse with layered moiré patterns, oscillating frequencies, and radiant hues that seem to breathe within the gallery.

Luminance is both analytical and emotional, rooted in the psychology of painting. Farrell's recent tarot card reading added a layer of intuition and symbolism, shaping the emotional and spiritual rhythm that runs through this series. Farrell focuses on his research and knowledge while making educated explorations and decisions resulting in new discoveries.

Luminance is not simply a viewing experience, it is a perceptual performance. Farrell offers a contemporary meditation on beauty, sensory overload, and the transcendence found in color’s infinite spectrum

Rhys Douglas Farrell received his Bachelor of Fine Arts (major in Painting) from the Alberta University of the Arts in 2016. Farrell was the recipient of a painting scholarship from the University where he was also the Representative for the Painting Department and the Director of the Student Gallery. He was signed on with the Herringer Kiss Gallery when still a student and his first solo show was named by Canadian Art Magazine as a “Must See”. He was then featured in a 7 page spread in Branded Magazine in the summer 2016 and in 2019, Farrell was the recipient of the Alumni Horizon Award from AUArts. Farrell has completed a number of public art projects including Telus Spark Science Center, Beltline Urban Mural Project, the City of Calgary and a number of private commissions. His work has been aggressively collected by private and corporate collections alike and he has completed five international residencies with Pinea & Linea De Costa A.I.R program in Spain, Graniti Murales in Sicily, TARP Program in Kuala Lumpur with Taksu Gallery and Jupiter Fab Artist Residency in Guadalajara, Mexico. His works can be seen at Hello Sunshine Restaurant in Banff, Lonely Mouth Restaurant in Calgary and he recently placed a diptych at the Ford Motor Company’s Visitor Centre outside Detroit, Michigan.

Inspired by the OpArt movement of the late 1960’s, Farrell uses colour theory and pattern-making to create highly optic works that shift both chromatically and physically. Farrell has been experimenting with the colour principles discovered by French Chemist, Michel Eugène Chevreul and published in his book, ‘De la loi du contraste simultané des couleurs ‘ in 1839. Through Chevreul’s scientific research, he first discovered that colours when placed next to one another, impact and shift towards the complimentary of their neighbour. This principle is known as simultaneous contrast.

Farrell focuses on the use of line and dots to create dynamic patterns that harness these shifting and rousing colour effects. A number of these works are constructed by layering similar patterns on top of one another creating a moire pattern or three dimensional effect.

Exhibition dates: November 22, 2025 - January 10, 2026

Exhibition website: https://www.herringerkissgallery.com/upcoming-exhibitions

Through Ce qui berce et ce qui noie, Catherine Morin offers a painted passage through our contemporary beliefs, those swallowed whole without pause, pulled in by our insatiable need for meaning. Her canvases unfold between healing rites, conspiratorial fables, and a thin veil of spirituality, tracing a world stretched taut, where the soul reaches for calm even at the expense of reality. 

 She tells of a time poised between mysticism and exhaustion, torn apart by belief, drawn toward the sacred, yet fumbling for repair. Water, the apple, medicinal plants recur as symbols, but clarity is never granted. A quiet irony flows through her work, not to mock but to expose the slippages, the moment when care hardens into command. The mystical here is neither refuge nor escape, but a language held in suspension, spoken when certainties collapse and the invisible insists. 

First trained in photography, Morin has for decades cultivated a painter’s practice fed by keen observation. Her vision, tender yet incisive, lingers where meanings blur. What she unearths, she translates with precision, choosing suggestion over explanation. Hybrid bodies, faces adrift, gestures caught mid-flight: everything hovers in a hushed density, pulled between fable and memory. Her paintings capture the instant when intimacy tips into ideology, when history falters and repeats. It is a painting of thresholds and imbalance, where truth does not proclaim itself but surfaces quietly, somewhere between light and the forbidden fruit. Curated by Gabrielle Poliquin

https://wishboneart.com/show/wishbone-gallery-ce-qui-berce-et-ce-qui-noie

L’autre rive réunit une série de toiles d’André Clouâtre, peintre autodidacte dont la pratique se déploie au tournant des années 2000. Issu d’une enfance passée sur la ferme, Clouâtre conserve dans ses tableaux la mémoire du labeur de la terre ; une nature à la fois nourricière et exigeante.

Dans le silence de son atelier-garage, la peinture s’amasse, couche sur couche, comme s’accumulent les années. Pinceaux et spatules recouvrent, grattent, effacent, jusqu’à ce que surgisse le relief. Ce geste, proche de l’art brut, garde la trace d’une lutte engagée avec la matière. 

De ses songes, l’artiste tire des contes qu’il dépose sur toile. L’un d’eux, obsédant, revient souvent : celui des oiseaux qu’il doit nourrir sans toutefois y parvenir, entravé par des machines défaillantes, des obstacles toujours plus nombreux. Ce rêve d’oiseaux affamés devient ainsi métaphore d’une impuissance symbolique. 

Clouâtre convoque également des résonances littéraires, de Boris Vian à d’autres voix souterraines, nourrissant ses propres contes. Chaque toile s’accompagne de fragments de texte, comme autant de clés pour investir les dédales qu’il érige, hantés par l'énigme et suspendus entre les terres labourées et l’appel d’une autre rive.

- Curation par Gabrielle Poliquin

https://wishboneart.com/show/wishbone-gallery-lautre-rive-andre-clouatre

Born in France to Franco-Belgian parents, Barbara Ottevaere grew up between two cultures that meet without ever fully blending. This oscillating identity—both a source of richness and strangeness—has long nourished her outlook on the world. Settled in Quebec since the early 2000s, she has anchored her artistic practice there after a path shaped by creative writing and photography. Her work stems from a need to “leave a trace,” to give form to her inner world. For Barbara, clay is both a medium and a language—a living material, receptive to gestures, imprints, and accidents. 

Her process is grounded in experimentation and intuition. Each piece is born through slow time, a succession of states—from shaping to firing—that mark a transition between fragility and permanence. Ottevaere places particular importance on bas-reliefs, forms imbued with a mystical character, found on many monuments and sacred sites. 

Her references draw equally from ancient civilizations and modern art history: Greek vases, anthropomorphic relics of bygone cultures, Delftware, Art Nouveau, or 20th-century painting. Through this hybridity, the artist seeks to create a personal mythology where nature, animals, and humans coexist without hierarchy. Ceramics thus become a poetic means of reflection on our presence in the world and our ability to care for it. — Alicia Lequen

https://wishboneart.com/show/wishbone-gallery-mythologies-silencieuses-barbara-ottevaere

“This ‘behaviour’ of the material (clay) which does not seek your permission, already suggests to me a dance of nature, mind and culture.” Steven Heinemann

“Glass is a magical medium that has the ability to capture light. Working with hot glass is like a dance, a beautiful fluid motion with heat and material.” Susan Rankin

The magic of fire. The ancients understood how to use it. Archaeologists recently unearthed fired clay pots in China that were 20,000 years old. The earliest record of making glass—mixing sand with other materials and applying the heat from a flame dates back to the Egyptians in 1500 BC. 

Oeno Gallery’s Fired Up! exhibition brings you an extraordinary group of contemporary ceramic and glass artists who often challenge the historic boundaries of what clay and glass might endure.

The ceramicists - Steven Heinemann, Susan Collet, Paula Murray, Bruce Cochrane, Loren Kaplan and Bill Greaves. 

The glass artists - Cheryl Wilson Smith, John Paul Robinson, Susan Rankin and Julia Reimer. 

Each one has explored new techniques of working with clay or shaping hot glass into unique pieces.

Each one has endeavoured to discover their own distinctive visual language.

Each one has strived to elevate their art form.

“You have to respect the material, which is the clay, and the process it goes through. Each piece I make has been on a journey. Porcelain’s fragility and its strength mirrors human experience and nature.” Paula Murray

 A special offering of ceramics from Toronto art collector and philanthropist Aaron Milrad, a passionate supporter of the arts will also be on view and available for purchase.

https://oenogallery.com/exhibitions/fired-up-artists-shaping-ceramics-and-glass/

This December, Nicholas Metivier Gallery is excited to announce Autres Territoires, an exhibition of works by Moridja Kitenge Banza, Emmanuel Osahor, Moses Salihou, Marie‑José Gustave, and Michaëlle Sergile originally presented at the Canadian Cultural Centre in Paris, France in June 2025. 

Curated by Catherine Bédard and Joséphine Denis, this exhibition brings together five Canadian artists of African and Caribbean origin, and was highly celebrated in the French press. 

https://metiviergallery.com/exhibitions/253/press_release_text/

Newzones Gallery is pleased to present Trees in the Field, a solo exhibition of new work by Canadian contemporary painter Peter Hoffer.

“I came out taller than the trees” — Henry David Thoreau

In the open fields of L’Isle aux Grues—an isolated island in Eastern Quebec—I found myself returning to the same presence again and again: the solitary tree. Rare and exposed, each stood like a quiet figure in the landscape, weathered by wind, shaped by space, and entirely itself. This body of work is a meditation on those trees—painted in stillness, often centred in the composition, surrounded by sky and field. They are not merely subjects of observation, but presences I encountered. To me, they hold a kind of personhood: rooted yet vulnerable, silent yet expressive. Their stance suggests resilience, courage, and an acceptance of solitude. In these works, I explore the emotional resonance between figure and landscape, strength and stillness. Each tree becomes a portrait of perseverance—bearing the weight of open space, and standing in quiet dialogue with the horizon. Like Thoreau, I believe time spent with such trees changes us. It reminds us that solitude can be sustaining, and that there is quiet power in simply standing where we are. This exhibition is both a landscape and a gathering of figures—trees as witnesses, as companions, as metaphors. Their silence speaks. I’ve tried to listen.

Peter Hoffer is known for his textural landscape paintings. Trained in both sculpture and painting, Hoffer’s attention to materiality is always evident in his work. He paints directly on wood panel and often leaves part of the surface visible. Each painting is finished with a highly reflective clear resin, with intentional inconsistencies such as scratches, sporadic markings and ripples. For Hoffer, this sets up a necessary balance between the naturalness of the painted and organic landscape, and the artificial sense of the precious “objet d’art”.  A contrast emphasized between the controlled hand of the artist and the force of the material.

Peter Hoffer has a Masters of Fine Arts from Concordia University in Montréal, Québec. Hoffer’s paintings can be found in several prominent public, private, and corporate collections, including Cirque de Soleil, Musee des Beaux-Arts, Montreal, Royal Bank of Canada, Kitchener-Waterloo Art Gallery and ING New York, New York, Rodin Law Firm Litigation Counsel, Calgary, AB, to name a few.

https://newzones.com/blog/2024/12/13/peter-hoffer-trees-in-the-field-2025/

https://www.jamesrottmanfineart.com/exhibitions/

https://galeriestlaurentplushill.com/album/lewis-smith-whitney

Claude Tousignant was born in Montreal in 1960.

A self-taught painter, drawing was his first passion, which characterizes his artistic creation process well.

After studying graphic design, he worked for many years in the printing industry and participated in the production of art books for both museums and new artists that he enjoyed discovering.

He dabbles in several mediums including pastel and oil, but prefers acrylic paint for its many creative possibilities.

His reading, life modeling workshops, and exhibition visits fuel his research to perfect his technique. He travels through the neighborhoods of the cities he visits, always looking for subjects for his future creations. Montreal, his hometown, with its alleyways and cafes remains a particular source of inspiration. 

His artistic approach is based on the concept of yin and yang, this notion of complementarity that we find in all aspects of life and that he applies in the interaction of colors between them and the treatment of his compositions to give life to his paintings.

https://claudetousignant.ca/

http://www.paulkuhngallery.com/exhibitions/claude-tousignant

Abbozzo Gallery is honoured to represent Naoko Matsubara and to support her first solo exhibition at the Art Gallery of Ontario, Naoko Matsubara. This landmark presentation highlights the artist’s extraordinary contributions to contemporary printmaking through a selection of 20 woodcut prints spanning over five decades. 

Curated by Renée van der Avoird, Associate Curator of Canadian Art, the exhibition features Matsubara’s dynamic handling of colour and form, her deep engagement with wood as material, and a profound sensitivity to gesture and abstraction.

Anchoring the exhibition is Tagasode (2014), a monumental two-metre print evoking the presence of a kimono hanging on a traditional ikō stand – an elegant fusion of personal memory and cultural reference. Also included are seven prints from her celebrated series In Praise of Hands (1973–2020), which trace the expressive power of the human hand in acts of making: weaving bamboo, playing the flute, carving wood. Bookending the presentation are two rare self-portraits, created nearly 60 years apart, offering an intimate meditation on time, aging, and continuity.

Select prints featured in the AGO exhibition are available for acquisition through Abbozzo Gallery. For enquiries, please contact us directly. Click here to view the full collection of available artworks by Naoko Matsubara.  

https://abbozzogallery.com/exhibitions/91-naoko-matsubara-at-the-ago/