“A Cabinet of Curiosities” curated by Darius Stein.
Luke Armitstead, Sarah Davidson, Paul Halley, Juliana Silva.
On view to June 10, 2017.
The two and three dimensional works combine a range of materials including sculpture, ceramics, collage, and lace and fabric. They are an assembly of tactile and organic objects that unexpectedly and surprisingly relate to each other within the space. The works are thoughtful, resourceful and visually engaging.
Art collector J. Tomilson “Tom” Hill III explains why a work’s staying power is more important than its market price.
A presentation at The Art Newspaper’s 25th anniversary celebrations, hosted at the Museum of Modern Art in New York. Hill was among those invited to investigate the subject What is Art For? Videos of the different speakers—Glenn Lowry, director of MoMA, Eric Kandel, a Nobel Prize-winning neuro-psychiatrist, James Davis of the Google Cultural Institute, J. Tomilson (“Tom”) Hill III, the collector and president and chief executive of Blackstone Alternative Asset Management, and Lina Lazaar, the founder of Jeddah Art
Chris Keatley: Although you are an abstract painter now, in the past you have dealt with both landscape and portraiture in a fairly traditional way. Are there elements of your landscape and portraiture work that underlay or inform your abstraction?
Eric Louie: I think most of my paintings refer back to landscape, portraiture and still life in some capacity. For the most part in their sensitivity to space and form in an illusory context. Although I’m using and developing an abstract language it doesn’t stop me from painting a wide variety of imagined subjects. In some instances I go deep into a scenario with close inspection and complexity while in others I pull back and take things on from a distance. I try to give myself the freedom to paint whatever the painting demands as images emerge and develop.
Interview with Anda Kubis and Chris Keatley: off-site exhibition Pendulum Gallery, Vancouver, 2016
Chris Keatley: What computer do you use to create your work?
Anda Kubis: I work on a Mac Laptop. I use the track pad and don’t even use a mouse. Because I’m at Ontario College of Art & Design (OCAD) University, I have lots of technology available to me to play with and I’ve used a Wacom Cintiqu and own a Wacom tablet but I don’t like using the pen. Using my fingers feels more like painting – a track pad feels closer to the painting process. I am not a ‘drawer’. I am distinctly a painter and my process is the manipulation the material of paint or pushing pixels of colour around in the digital process. I can’t wait until they make a 3D Wacom tablet that responds to gesture in a large field – I know that they’re doing testing in this area.
CK: How do you see the interface of your creativity with the computer’s technical abilities?
AK: The process of digital painting has really reinvented my practice. It’s allowed for a more experimental side to come through – definitely because I’m using new technology and I have the potential to work on a variation of surfaces but also because the digital is very fast. I do work to slow the process down by making many variations of the same piece until I edit and edit and come to a decision but I enjoy entertaining many options. Painting with oil on canvas, which I still do, is a very linear and additive process. Working digitally is rhizomatic – it grows and evolves in unexpected ways, which I like. I do still think that it’s important to note that I am working back and forth between conventional painting (in oil) alternating it with the digital process. These ways of working are informative and force me to get away from each practice to see things afresh. Again, they allow variety of pace as well.