Mark Adair
Death’s Epilogue
Glass House Window
December 5 – 27, 2015
Reception: December 5, 2-5PM
& A December 5 @ 3PM
Loop Gallery is pleased to announce a new exhibition by Mark Adair entitled Death’s Epilogue: The Glass House Window.
Adair has always simultaneously worked on parallel projects. The two featured in this show are the Death Drinks series (1999-2015) which Adair concludes with more small charcoal drawings and the new piece, The Glass House Window, which is a glass, steel and lead window featuring a version of the Tree of Knowledge. Death's Epilogue is ironic and dark; The Glass House Window is a new departure for Adair -- it is a meditation on the need for sincerity.
Adair graduated from York University with his BFA and went on to do his MFA at the University of Victoria in B.C. in the early 80's. After returning to Toronto in 1983 he almost immediately became involved in Green politics, and the questions and anxieties that have arisen from the observation of the steady deterioration of our planet have formed the basis of his work for the last thirty years. 'How did we get to this place?' Why did we allow it to happen?' 'Why are we so reticent "to do something" before it is too late?'
Learn more: http://www.markadair.ca/
Image: Death’s Larvae, charcoal on paper, 2015
loop Thanks : AUDAXlaw Sumac.com
Yael Brotman
We
Standing by Water
Waiting
Standing by Water
Waiting
December 5 – 27, 2015
Reception: December 5, 2-5PM
Q & A December 5 @ 3PM
This exhibition is a poetic investigation into the sites where action and inaction intersect. We may be full of longing, willing a lover, a friend, to come to us. But we remain transfixed until the loved one releases us by their action.
In western mythology, often women are the ones standing by a body of water, wishin’ and hopin’. Penelope looks out at the sea for twenty years, waiting for Ulysses’ ship to return. She unravels each day’s labour in order for her world to stay inert, frozen in time. In Dvorak’s opera Rusalka, water plays a crucial role in the water nymph’s tragedy. But the situation is different from that of Penelope. Rusalka, living in the depths of a lake, longs to experience the passion of human love. She can’t take action until an external force, the witch’s potion, transforms her and she is able to walk on the shore to meet the Prince. In Genesis, Rebecca stands by a contained body of water, a well, also waiting. The chain of events leading to her destiny as the mother of nations begins when a stranger requests a drink of water.
The shards of colour, the twinkling lights, the reflections in the exhibition, imbue the work with a sense of the sublime we feel in our relation to water. Yet when we wait by water, there is also the inherent implication of waiting for someone. Then, as in the myths and fairy tales referenced above, the sense of wonder is darkened by anxiety, a dichotomy ever-present in the human condition.
Yael Brotman is a long time member of Loop Gallery. She also exhibits nationally and internationally including at the Biennale internationale d’estampe contemporaine de Trois-Rivières; McMaster Museum of Art, Hamilton; ODD Gallery, Dawson City, Yukon; and at the International Print Centre New York; Zweigstelle Berlin, Germany; Monash University, Melbourne, Australia; Ceramic Institute, Jingdezhen, China. She has been awarded grants, and residencies in Scotland, China, Australia, Ireland, Yukon and Banff. Brotman is on faculty at the University of Toronto Scarborough and is president of CARFAC Ontario.
Image: Well I, foam core, theatre gels, LED lights, 2015. Photo credit: Peter Legris
loop Thanks : AUDAXlaw Sumac.com
