- Colin Davis & Ki Sung Koh
June 16th- July 3rd, 2016
Reception: Thurs June 16, 6-9
Colin W Davis explores intimate moments in nature by arranging mundane natural objects into symbolic shrines. Common sticks, rocks and leaves that would ordinarily be ignored gain a sense of importance through being observed, and then are honoured further through the act of careful painting from life.
The Grove explores the tradition of animism, the belief that “spirits” exist in all things including animals, plants and rocks. This tradition is connected to many indigenous religions throughout the world and is often associated with ritual, superstition and magic. The objects in this body of work are all arranged centrally and highlighted against a dark background, separating them from an imagined landscape and revealing their sanctitude.
Colin W Davis is a Toronto-based painter. He is a graduate of the BAA Illustration program at Sheridan College.
Ki Sung Koh
‘Way of Life’
Ki Sung Koh explores the beauty of nature, memories and dreams. His works depict imaginative worlds in which animals bask in the security of their environments.
Koh’s images share his view on the preciousness of nature in hopes of connecting people through an act of discovery in his paintings. As you see, feel, and hear animals, you will also find more of yourself.
Ki Sung Koh was born in South Korea in 1985 and moved to Canada in 2006. He now lives and works around Toronto. Koh has received BAA in Illustration program from Sheridan College, ON, Canada in 2012.
- Dirt Nap
Opening Reception : Friday June 3rd 7pm – 11pm
Exhibition Dates: June 2nd – June 26th
Location: 184 Munro St
Dirtnap is a playfully dark nod to this death and rebirth of information as it is remembered. The show presents the viewer with haunted images of peoples’ pasts and images of those who once stood in front of a camera, many of which have died. The images range from the painterly sublime to the casual snapshot. Chad Gauthier and Greg McCarthy both find reference in photographic imagery to produce images based on memory and the role of the artists’ hand in creating these newer images.
Drawing reference from french new wave cinema, Gauthier’s work recreates these images from memory and printed reference material. These new paintings function as altered mnemonic devices that interrogate and rework the original act before the cinematic camera. These images seek to understand the cinematic event and the intention of the image after it has entered circulation. By rendering them as paintings the artist’s hand plays a role in the translation the photographic image into a more personal gesture. Using the vocabulary of the painterly gesture, the images are filtered through both Gauthier’s own experiences and speak to both the language of painting and abstraction.
McCarthy’s work uses the discarded archive of a lithographers union, from the early 30s to the late 50s as a starting point, The Distance Between a Handshake is an ongoing series that proposes an alternative method for the use of an archive. It questions the collective ownership of historical documents and the role of the archivists as a figure of authority. The pieces become redacted and altered in ways that subvert the original intentions of the photographer and create newer images through the destruction of themselves. Archival preservation practices are purposefully subverted with the intention that over time the interaction of the artist with the archive will inevitably cause damage to the original photographs leaving further traces of the intervention into the archive.