Oct
26
to Oct 30

Art Toronto | V05

We are delighted to once again participate at Art Toronto. This year we will present a selection of work by Tess Michalik (Brooklyn, NY), Corri-Lynn Tetz (Montreal, QC), and Robert Taite (Winnipeg, MB). We will also have Kristin Nelson's newest edition, Drink. To preview works available, please email the gallery directly.


Corri-Lynn Tetz, Light, 2017. Oil on canvas.

Corri-Lynn Tetz, Light, 2017. Oil on canvas.

Tess Michalik, Dream Baby Dream, Forever, 2017. Oil on canvas, 12 x 12 inches

Tess Michalik, Dream Baby Dream, Forever, 2017. Oil on canvas, 12 x 12 inches

Robert Taite, to start, one w/ all colours, then one w/ one colour, 2017. Found latex on poplar stretcher off-cuts and MDF, canvas on poplar, 22 × 25 inches

Robert Taite, to start, one w/ all colours, then one w/ one colour, 2017. Found latex on poplar stretcher off-cuts and MDF, canvas on poplar, 22 × 25 inches

Kristin Nelson, Drink, edition of 3, 2017. woven cotton.

Kristin Nelson, Drink, edition of 3, 2017. woven cotton.

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Jun
2
to Jun 30

Golden Hour | Rosalind Breen + Corri-Lynn Tetz

Lisa Kehler Art + Projects is proud to present Golden Hour, an exhibition of new work by Rosalind Breen (Ottawa, ON) and Corri-Lynn Tetz (Montreal, QC).

One year ago, the work of Rosalind Breen was significantly different. They were large-scale paintings of iconic (and nostalgic) characters - Willy Wonka, the Spice Girls, characters from Lord of the Flies. These characters were painted in dream-like settings and partially constructed landscapes. Corri-Lynn Tetz’ paintings of ethereal landscapes populated with blurred, nude figures with a muted palate have remained consistent. A year ago, the connection between Breen’s paintings and Corri-Lynn Tetz’ work was immediate, and obvious.  The similarities in not only execution, but in the desire to create an image with ambiguity were what had originally prompted the idea for the exhibition.

Since that time, a significant shift in Breen’s execution has resulted in a far less obvious connection, but excitingly, deeper, more symbolic ones: light and longing. Both deeply relied upon lighting and the bare minimum of information to create a narrative. Tetz notes that light has become a really important part of her paintings: “a way of signaling experience without having to illustrating the specifics of what that is. Rosalind is talking about the mundane and ambiguous and I like connecting those ideas to the historic use of light in painting and how it signaled ideas of the 'divine'.”

For Breen, another connection was through a shared sense of longing. “Sometimes when looking at the figures in our work, I feel a deep sense of longing. Longing from the characters, longing to know more about what is going on, longing to be apart of the plot. That is a theme that motivates a lot of my own work. I include fruits, pomegranates, apples, lemons and limes all to play with the archetype of desire and longing… the forbidden fruit. Beyond buttery light pouring through fields or nature, when I suggested the title I was thinking about the Golden Hour through the context of mythology and fable. It was the hour of transformation, the climatic moment of reveal... it was the point where the plot would all be come clear. Corri-Lynn and I both make such ambiguous works, that to have a show called the Golden Hour almost feels like presenting that second before the great reveal. The moment of breath held, anticipation, wonder and excitement.”

In the body of works created by Breen for Golden Hour, she aimed to explore ideas of finding myth in the mundane and ambiguous images. She drew from personal memories and desires and then reduced the images to bones through collage.  She embraced familiarity and nostalgia “to create a shared experience, to illuminate memories that bring people together in solidarity”. 

Tetz has continued her focus on ritual, and ideas of transcendent experience. Through “discarding the utopic/idyllic weight of a figure in landscape”, she has attempted to shape “evocative, interior, dreamscapes, or, spaces where my connection to painting, the figure and to the transformation of found images, filters personal experience and a temporal curiosity towards the immaterial.” 

Golden Hour opens Friday, June 2 and runs until June 30. There is an opening reception on Friday, June 2 from 6-9 pm, with both artists in attendance.


Rosalind Breen

Born in Toronto, Rosalind Breen attained a BFAH from Queen's University in Kingston, Ontario and in 2016 an MFA from Rhode Island School of Design in Providence, Rhode Island. She has since participated in residencies in Iceland, Germany and Massachusetts. She has exhibited in shows in Rhode Island, New York, Toronto and Iceland. She is interested in the idea of shared human experience, creating environments and resurrecting mythical archetypes. She makes works with the intention to evoke nostalgia or to create cathartic, shared experiences, to illuminate memories that bring people together in solidarity.

Corri-Lynn Tetz

Corri-Lynn Tetz studied painting and drawing at Red Deer College, Emily Carr College of Art and Design and Concordia University, and now works and lives in Montreal. She has receivedthe Takao Tanabe Prize, the Helen Couture Award, and was as a finalist in the 2012 RBC Painting Competition. Most recently, she has been awarded a research and creation grant from The Conseil des Art et des Lettres du Quebec and a Project Fellowship through the Elizabeth Greenshields Foundation. She was the 2016 recipient of the Brucebo Foundations Residency Scholarship and spent three months working on the island of Gotland, Sweden. Her paintings have been exhibited in Sweden and across Canada.

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May
10
to May 27

Group Show

Paul Robles, Hudson 2, 2017. Handcut monoprint.

Paul Robles, Hudson 2, 2017. Handcut monoprint.

This is the last show by gallery artists at 171 McDermot. The show will feature work by Ted Barker, Derek Dunlop, Chantal Dupas, Aganetha Dyck, Michael Dumontier, Erica Eyres, Neil Farber, Jeanette Johns, Krisjanis Kaktins-Gorsline, Guy Maddin, Shaun Morin, Kristin Nelson, Jon Pylypchuk, Paul Robles, Cyrus Smith, Suzie Smith, Robert Taite, and Rob Wakshinksi. We will also have several works from Daniel Johnston, Claire Milbrath, Peggy Kouroumalos, and Sherry Walchuk.

The exhibition will run from May 10 - May 27, with a reception to be held Friday, May 12 from 6-8 pm. Opportunities to look at portfolios, as well as the private inventory will be made available. 

While this is the last show of gallery artists, we will have one final exhibition at 171 featuring new work by Montreeal-based artist Corri-Lynn Tetz, and Toronto-based artist Rosalind Breen. 

Additional projects are in production, commencing with an exhibition by Kenneth Lavallee, Jon Pylypchuk, and Aganetha Dyck. Stay tuned for further details.

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Mar
24
to Apr 22

This Must Be the Place (Home Pt. 2)

New works by three Montreal-based artists; Peggy Kouroumalos, Claire Milbrath, and Sherry Walchuk, each exploring ideas of home - through nostalgia, daydream, and imagination.


Peggy Kouroumalos is an artist from Toronto, Ontario, currently living in Montreal, Quebec. Through the representation of re-counted personal memories or invented open-ended narratives, her interests’ lie in creating a point of intersection from various influences from the past; art historical, cinematic, literary or cultural. By working in a free associative manner she explores our cultures voracious appetite for collecting objects and consuming images, creating her own visual language with a combination of elements driven by recurring themes of death, desire, alienation and transformation.

Kouroumalos studied drawing and painting at the Ontario College of Art and Design and graduated with a Masters of Fine Arts at Concordia University. She has exhibited her work since 2006 in various solo and group shows in Canada, the U.S. and Europe.


Claire Milbrath  is an artist and editor-in-chief of art publication ‘The Editorial Magazine’. Milbrath grew up in Victoria BC. She currently lives in Montreal in an apartment with her two best friends, and spends most of her time laying in bed painting or doing the layout for her magazine. Untrained in art, her work possesses a beautiful child-like quality as well as being comic and nostalgic. She is inspired by the naïve painters, Henri Rousseau and Seraphine Louis.

Milbrath's work is deeply informed by the Naive painters in its disregard for the rules of perspective and human form. Her body of work is centered around the character of Poor Gray, an aimless, wealthy, anxious man. Her work explores themes of gender, challenging our concepts of masculinity by depicting Gray as vulnerable, feminine, and homosexual. Humor is key in Milbrath's work. 


Sherry Walchuk lives in Mission, BC, and Montreal QC, where she completed her MFA at Concordia University.

Walchuk's practice emerged from her experience taking care of her grandpa, who wanted to die because he couldn’t make anything anymore. As a result, her work is grounded in sincere, vernacular attempts to form meaning through making: acts of puttering, fake-making and home renovations. Her work is also about care-giving: it proposes potential solutions for her family member’s problems and works with and for them. Teetering between hope and despair, wrestling with profound doubt, the work becomes about trying. Ultimately, the humanity in her spaces, objects and drawings allows us to find humour in our own fumbling attempts to move through the world. They create spaces that force us to be present in the insecurity of being and doing. The point is to make vulnerable, and to give pleasure.

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Mar
24
to Apr 22

This Must Be The Place (Home Pt. 2)

All photographs by Jacqueline Young

Lisa Kehler Art + Projects is proud to present This Must Be the Place (Home Pt.2), a group exhibition featuring work by Peggy KouroumalosClaire Milbrath, and Sherry Walchuk. Each artist has created work offering different, personal visions of what ‘home’ looks like. The exhibition includes 17 oil paintings and 8 pencil crayon drawings. This is the first exhibition for each of the artists with the gallery.
 
Lately, home has become a contentious concept. Well, to be honest, it always has been. One’s sense of belonging is manipulated by many things; memories, a sense of familiarity, people, ideas, or geographic elements. Following This Must Be the Place (Home Pt. 1), where each artist who is either from, or currently resides in Winnipeg contributed artwork that specifically drew inspiration from their geographic location, Home Pt. 2 takes a more conceptual approach to the subject of home. Kouroumalos has created a series of oil paintings culling through the nostalgia of her youth. Music, magazines, books, posters, clothes: all are fodder for her paintings of what could have doubled as her bedroom in the early 90s.  A closet door plastered with posters of icons – Robert Smith from the Cure, Jesus and Mary Chain, Sid and Nancy –washed out and faded in the same way we now recall those memories. In another work, a five foot oil painting to be precise, an unmade bed is flanked by graffiti on the wall, a Ghoulies poster, and a mess of clothes scattered around the floor. A series of ten book jackets which were informative to the artist’s development in her teens have been reimagined, and stand as a sort of link between her younger self, and the creative mind she holds now. Nostalgia is clearly the key to Kouroumalos’ sense of home.

For Claire Milbrath, while nostalgia also guides her work, hers is less obviously connected to her past. Milbrath has created a world centered on the character Poor Gray. First imagined when she was a child, she would draw him on scraps of paper and napkins around the house growing up. Poor Gray is a character trapped within the confines of what Claire is able or willing to paint. He's an anxious man, with nothing other to do than act out the banalities of his world: waiting, resting, reading, and talking on the phone. He's lethargic, wealthy, homosexual, and a smoker. The scenes in which he is painted are reminiscent of the great rooms of the Milbrath’s childhood home and the gardens surrounding it.

Sherry Walchuk’s work is intensely personal in that it evolved from her watching her aging Grandfather deal with the realities of having to move into a personal care home.  Walchuk’s work is always intrinsically linked to the personal in that she often uses it to trouble shoot familial issues as they arise; from a series of works made specifically in response to her dad in 2013 to this series of personal care home drawings. The pencil crayon drawings are her solutions to the feeling of helplessness, or of displacement that occurs when the elderly are forced to let go of their homes. Walchuk reveals: “I thought that the people would want to be either inside a previous space of theirs or that they would want to be outside, close to nature (because now they were inside all the time and also because I felt like this would give them a sensation of more space/of infinity and it would be the most calming).

Next, the shape of the structures began to change. I had finished a residency in Banff and I thought- what would I want to be if I were in a hospital or home? And I wanted to be a rocky mountain. The structures went from a box around a bed, to individual structures around individual sites: the gurney, the wheelchair.” The works are always exhibited in plastic binder sleeves, which in a sense, provide their own little home for each drawing.

This Must Be the Place (Home Pt. 2) opens on Friday, March 24 and will run until April 22. For additional images and information, contact the gallery directly at info@LKAP.ca, or (204)510-0088.  

About the Artists
 
Peggy Kouroumalos is an artist from Toronto, Ontario, currently living in Montreal, Quebec. Through the representation of re-counted personal memories or invented open-ended narratives, her interests’ lie in creating a point of intersection from various influences from the past; art historical, cinematic, literary or cultural. By working in a free associative manner she explores our cultures voracious appetite for collecting and consuming objects and images, creating her own visual language with a combination of elements driven by recurring themes of death, desire, alienation and transformation.
Kouroumalos studied drawing and painting at the Ontario College of Art and Design and graduated with a Masters of Fine Arts at Concordia University. She has exhibited her work since 2006 in various solo and group shows in Canada, the U.S. and Europe.

Claire Milbrath  is an artist and editor-in-chief of art publication ‘The Editorial Magazine’. Milbrath grew up in Victoria BC. She currently lives in Montreal in an apartment with her two best friends, and spends most of her time laying in bed painting or doing the layout for her magazine. Untrained in art, her work possesses a beautiful child-like quality as well as being comic and nostalgic. She is inspired by the naïve painters, Henri Rousseau and Seraphine Louis.
Milbrath's work is deeply informed by the Naive painters in its disregard for the rules of perspective and human form. Her body of work is centered around the character of Poor Gray, an aimless, wealthy, anxious man. Her work explores themes of gender, challenging our concepts of masculinity by depicting Gray as vulnerable, feminine, and homosexual. Humor is key in Milbrath's work. 

Sherry Walchuk lives in Mission, BC, and Montreal QC, where she completed her MFA at Concordia University.
Walchuk's practice emerged from her experience taking care of her grandpa, who wanted to die because he couldn’t make anything anymore. As a result, her work is grounded in sincere, vernacular attempts to form meaning through making: acts of puttering, fake-making and home renovations. Her work is also about care-giving: it proposes potential solutions for her family member’s problems and works with and for them. Teetering between hope and despair, wrestling with profound doubt, the work becomes about trying. Ultimately, the humanity in her spaces, objects and drawings allows us to find humour in our own fumbling attempts to move through the world. They create spaces that force us to be present in the insecurity of being and doing. The point is to make vulnerable, and to give pleasure.

CBC Interview with Claire Milbrath

Global News Interview

 

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Feb
17
to Mar 17

This Must Be the Place (Home Pt. 1)

Home, is where I want to be
But I guess I'm already there
I come home, she lifted up her wings
I guess that this must be the place

I can't tell one from the other
I find you, or you find me?
There was a time before we were born
If someone asks, this is where I'll be, where I'll be

Lisa Kehler Art + Projects is pleased to present This Must Be the Place (Home Pt. 1), a group show considering the variety of approaches 6 Winnipeg artists use to contemplate the impact of Winnipeg as home. The exhibition includes works from Ian August, Scott Benesiinaabandan, Erica Eyres, Sylvia Matas, Kristin Nelson, and Cyrus Smith. The exhibition opens Friday, February 17 from 6-9 and will run until March 17.

CBC Preview

Akimbo Review

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Jan
6
to Feb 11

Jeanette Johns | To Step is to Rise

EXHIBITION EXTENDED TO FEBRUARY 11

Opening reception: Friday | January 6 | 6-9 pm

Artist in attendance


Lisa Kehler Art + Projects is proud to announce Jeanette John’s first solo exhibition with the gallery. To step is to rise is a collection of new drawings and prints addressing the role that our bodies play in our experience of space. For Johns, perception is not just observation and deduction, it is also the result of a pre-programmed set of assumptions and limits.

 Through three key subjects; the moon, train tracks, and stairs, Johns explores optical illusions, and the body’s natural inclination to make sense of them. Johns states, “Our bodies have evolved to work with the specific environment of Earth. The ability to see depth of space in a flat drawing is evidence that our eyes so badly want to see gravity, volume and distance at work that they can be tricked by a simple optical illusion.”

Initially employing an analytical approach, she has become well-recognized for merging mathematic and scientific understandings with creative observations, all in the search for a poetic result. To step is to rise marks a return to drafting with a series of 8 pairs of graphite drawings of staircases of different heights and widths.  Each pair is made up of a “pictorial view” in a parallel perspective which shows the object as it would appear in 3D, and a “multi-view”, which shows the object as seen from different positions.  The drawings use certain conventions from the visual language of technical drawing. The proportions of each staircase are based on the height of the most climbed mountains in the world.  The height of the stairs is in relation to the elevation of the top of the mountain and the width of the stairs is in relation to the amount of people that climb to the top of that mountain each year.

A second series in the exhibition is Right Side Up- a montage of 16 works, each 12 x 12 inches. Using an image of the moon taken by NASA and pairing it with an early image of a staircase given to MC Escher, Johns illuminates how significant orientation is to interpretation.

The remaining series deal with the effect that context places in mediating our understanding of what we are seeing. Using Joseph Albers’ theories from his book The Interaction of Colour, images of the earth and moon are manipulated, ultimately altering convex with concave, and light with dark.

The exhibition will open to the public on Friday, January 6, from 6-9 pm and will run until February 4. The artist will be in attendance. An interview with Winnipeg-based artist, Andrew Lodwick accompanies the exhibition and is available on the gallery website. For additional information, please contact the gallery via email at info@LKAP.ca, or by telephone (204)510-0088.

 


Jeanette Johns is a Montreal-based artist from Winnipeg, Manitoba. Her practice is rooted in the act of observation and the experience of looking with a particular interest in two-dimensional representations of space.

Fascinated by the subject of landscape, she uses both empirical and theoretical knowledge to consider its intersection with attributes of mathematics, patterning and geometry. As an artist her compulsion is to articulate the relationship between observation and its aesthetic experience by constructing and layering the imagery of maps, diagrams, and graphs, focusing on their two-dimensional plane geometric patterns.

Johns has taken part in exhibitions and residencies across Canada and internationally. She is the recipient of many awards and grants, including a SSHRC Graduate Scholarship. She holds a BFA Honours from the University of Manitoba and completed her MFA at Concordia University in Montreal in 2015. Her work is in both public and private collections, including the TD Bank, the Province of Manitoba, and the National Gallery of Canada.

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Nov
25
to Dec 24

Suzie Smith | one thing, then another

 

November 25 – December 24 | 2016

Opening Reception: Friday November 25 | 6-9 PM

Artist in attendance

  REVIEW in Galleries West


A given system of signs must make it possible to analyse things right down to their simplest elements; it must be able to unravel things back to their origin. But it must also show how the combinations of those elements become possible and how the complexity of things has sprung from one idea.

-Michel Foucault


Lisa Kehler Art + Projects is pleased to present Suzie Smith | one thing, then another – the artist’s first solo exhibition with the gallery. Smith will present a new body of work that plays with deconstructed systems and process through print, sculpture and animation. 

Working with a specific set of shapes, objects, and colours, the artist considers diverse possibilities through arrangement and rearrangement. Small adjustments, varied angles, and colour shifts work together to create playful new structures, often echoing slightly familiar objects.

Through setting rules for how shapes and images interact and then showing the variations together, the works become diagrams of an idea. This interest in systems and process connects directly with Smith’s interest in printmaking. In particular, the kind of push and pull between tradition and a rebelliousness to want to push against its boundaries.

Smith explains: I have created a system or structure to play within. Usually you think of a system as rigid or restrictive but in this case it frees something up, forcing me to be improvisational. The nature of the system allows room for play. The drying time of ink makes me do it quickly. I can’t question what I am doing. I have to act.

 I am interested in the idea of thinking through making and I think it is evident in some of the crayon prints- adding more rules as I go such as limited colours, limited number of lines, lines in a certain direction etc. In this case they are minimal but that isn’t to say in a different series they wouldn’t be scribbled in different ways, but there would still be a system for the messiness.

one thing, then another will introduce over 30 new works as well as a new animation. The exhibition will open to the public on November 25 and run until December 24. An opening reception will be held on Friday, November 25 from 6-9 pm, with the artist in attendance. 

Interview with Craig Love.

 


About the artist

Suzie Smith is a print based artist from Winnipeg, Canada. She graduated with a BFA degree from Concordia University (Montreal) in 2004, and a MFA from The Glasgow School of Art in 2011. She has shown both nationally and internationally and has had solo exhibitions at Atelier Circulaire (Montreal), Malaspina Printmakers (Vancouver), Open Studio (Toronto), and Ace Art (Winnipeg). Her work in both public and private collections in Canada. She is represented by Lisa Kehler Art + Projects in Winnipeg, Canada.

For more information, images, or interview requests, please contact the gallery directly at info@LKAP.ca or 204.510.0088.

 

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Oct
28
to Oct 31

Art Toronto (Booth V06)

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Oct
14
to Nov 19

Daniel Johnston | Love Makes Me Sad

True love will find you in the end
You'll find out just who was your friend
Don't be sad, I know you will,
But don't give up until
True love will find you in the end
This is a promise with a catch
Only if you're looking can it find you
'Cause true love is searching too
But how can it recognize you
Unless you step out into the light?
Don't be sad I know you will
But don't give up until
True love finds you in the end.

-Daniel Johnston, lyrics from True Love Will Find You in the End

Lisa Kehler Art + Projects is thrilled to present the first Canadian solo show for acclaimed Texas-based artist and musician, Daniel Johnston.  Love Makes Me Sad includes 13 drawings centering on the theme of unrequited love. The subject is something Johnston has religiously addressed since he first starting making art and music in the 1980s.

 The focus of Johnston’s unrequited love is that of Laurie Allen, a friend from school who ended up marrying an undertaker (an interesting story on its own). She would, unwillingly, become Johnston’s muse for nearly 30 years as he penned countless songs and drew her likeness with even more fervor. This exhibition features a diverse collection of Johnston’s drawings ranging from 1995 to 2012.

 Equally fascinating as the drawings are the details of the artist’s life.  Diagnosed as manic depressive and bipolar, his life has been a rather consistent battle of maintaining some sense of survival equilibrium. Being continually cared for by his aging parents has enabled him to keep making music and art all of these years. The trajectory of Johnston’s career reads in waves, attracting a deep and diverse mix of supporters along the way. His music was featured in the cult classic Harmony Korine film, Kids; he performed with Lee Ranaldo of Sonic Youth; his music has been covered by Beck and Wilco, while Kurt Cobain famously sported his Hi! How Are You t-shirt in the 90s. In 2006 he was the subject of Jeff Feuerzeig’s award-winning documentary, The Devil and Daniel Johnston. In that same year, his drawings were included in the Whitney Biennial, curated by Chrissie Iles, curator, Whitney Museum of American Art, and Philippe Vergne, senior curator of visual arts at the Walker Art Center in Minneapolis, Minnesota, as well as a major solo exhibition at Clementine Gallery in Chelsea.

 We can easily slip into the mindset that because Johnston suffers with mental illness that somehow the work is more ‘pure’. This happens regularly in music (Skip Spence, Roky Erikson,  even Brian Wilson), but is a supremely prevalent context for appreciating and addressing ‘outsider’ art. Think of Henry Darger, Adolf Wolflii, Bill Traylor, Judith Scott, etc. The work holds a place in the art world as a kind of true art. There is undoubtedly something sincere in Johnston’s drawings and his deceptively simplistic lyrics, but Johnston noticed early on that people craved his erratic behaviour while performing, and systematically ate up all which he could offer. There is intention here, clearly. There is a sense of self-respect, and a touch of self-indulgence that adds a level of confidence to his colossal body of work.

 

Daniel Johnston | Love Makes Me Sad, will open October 14 and run until November 20. There will be an opening reception on Friday, October 14 from 5 – 7 pm. 

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Sep
9
to Oct 8

Neil Farber | The Braided Stream


Lisa Kehler Art + Projects is proud to present Neil Farber | The Braided Stream – his first Canadian solo show in over a decade. The exhibition features 12 new paintings created through his current favoured process of layering paint, text, and collages in acrylic pouring medium.

Since the beginning, Farber has possessed the ability to create deceptively simple characters of depth. In this new exhibition, a young girl acts as the protagonist. 

In the exhibition’s accompanying interview, Farber reveals that the character grew from a decision twenty years ago to “stop making funny drawings with characters and speech bubbles and start making more surreal drawings.”  The little girl is an evolution from his globehead sculptures. “The sculptures inspired me to start using a girl as the main character in these paintings, sometimes with a globe head, but usually without, because she was just a normal girl before her head got so big.”

These rich, dense, messy, works reveal a new connection each viewing. Farber is going for exactly that. “My drawings and paintings have become more dense with characters and ideas over the years because I love the way that over saturation looks and feels…pushing that saturation level, and having the paintings be more than one kind of painting at the same time.”

The Braided Stream will run from September 9 and run until October 8, with an opening reception on Friday, September 9 from 6-8 pm. The artist will be in attendance. An interview, conducted by composer and Curator of the Winnipeg Symphony Orchestra’s New Music Festival, Matthew Patton, is available online at www. LKAP.ca.

Preview in Galleries West

 

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Jun
4
to Jun 30

Guy Maddin | Front Tooth & Wonder Bread

This exhibition is shown in conjunction with Paul Robles' Honey from a Knife. For the first time, the gallery will be divided into three exhibition spaces: the first will present a selection of works by both Maddin and Robles that correspond to each other, in essence 'setting the stage' for the visitor to enter both solo exhibitions; the second space features intricate 3D cut paper works by Robles; the third space features a selection of Maddin's cinematic collages.

MOMUS REVIEW: From a Safe Distance: Guy Maddin Stills his Lense

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Jun
4
to Jun 30

Paul Robles | Honey From a Knife

Lisa Kehler Art + Projects is delighted to announce Paul Robles' first solo exhibition at the gallery.   While widely appreciated for his intricate paper cut works, for his exhibition at LKAP, Robles has expanded his technique to form new sculptural pieces and punctured Inkjet series to create a hypnotic collage of his particular visual vocabulary.

Honey from a Knife portray strange metamorphic creatures, serpents of temptation, caught in spaces somewhere between clustered mayhem, orderly Mandalas and shades/scales of skin tones.  Combined with new found images – A "Sporty Life" of leisure, hobbies and vintage pornography from the seventies. The result is new series of complex imagery, though maintaining Robles preoccupation in themes of order and chaos, decoration and disorder, and sin and spirituality.

This exhibition is shown in conjunction with Guy Maddin's Front Tooth & Wonder Bread.For the first time, the gallery will be divided into three exhibition spaces: the first will present a selection of works by both Maddin and Robles that correspond to each other, in essence 'setting the stage' for the visitor to enter both solo exhibitions; the second featuring intricate 3D cut paper works by Robles; the third featuring a presentation of Maddin's cinematic collages.

Both artists in attandance.

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Apr
30
to May 28

Michael Dumontier | New Body

Lisa Kehler Art + Projects is proud to present New Body, Michael Dumontier's first solo exhibition with the gallery. The show builds on Dumontier's familiar menagerie, while brilliantly referencing the past two decades of work.

In the show's accompanying interview conducted by fellow gallery artist, Rob Wakshinski, Dumontier reveals,"I have consciously removed the figure from my work---there is no flesh---but the body is often present through its absence or through the anthropomorphization or activation of those inanimate objects - A chair, a shirt, eyeglasses - Holes in the walls as tired eyes.”

Dumontier has an innate ability to construct everyday objects in the most poetic ways: A clock-like work slowly rotates, while tiny handmade aluminum sprouts dot the wall and go almost unnoticed. This is the beauty of Dumontier’s work: He is less concerned with presenting a specific narrative or directive it seems, than with his own discovery of what is pleasing. Simple shapes prevail in this exhibition in such a way that it presents as a sort of meditation.  “The egg is a perfect form. It’s an object that can be represented by its shape alone. No other information is required. And everything is there already in terms of meaning, so it’s a perfect starting point. A clock is similar in terms of inherent meaning. In my life, time is at the center of everything, causing all sorts of problems. I guess that’s the case for everyone.”


Michael Dumontier is a multidisciplinary artist who lives and works in Winnipeg. Through a process of reduction, economic intervention, and material experimentation, Dumontier creates objects that are both elegantly simple and poetically charged. Dumontier's work encompasses drawing, painting, sculpture, and collage.

Alongside his solo work, Dumontier has devoted much of his artistic career to collaboration, most notably as a founding member of the Royal Art Lodge collective. Although the RAL officially concluded in 2008, Dumontier has continued to work with Neil Farber, meeting every Wednesday night to paint and write together. They were finalists for the Sobey Art Award in 2014. At the same time, Dumontier maintains an ongoing collaboration with Toronto artist Micah Lexier. Other past collaborators include Tom Elliott, Todd Martin, Paul Butler and Guy Maddin (The Keyhole Experiment). Dumontier has presented solo exhibitions in Winnipeg, Toronto, New York, Boston, and Padua, Italy.
Dumontier’s work is held in international private and public collections, including The National Gallery of Canada, The Art Gallery of Ontario, The Vancouver Art Gallery, Folkwang Museum, FRAC Picardie, Fondation Antoine de Galbert, and Centro de Arte Caja de Burgos.


Please join us in celebrating this new body of work on Saturday, April 30 from 2 - 5 pm.  

 

 

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Apr
21
to Apr 24

Papier Art Fair: Booth A02 (Montreal)

We are delighted to take part in Papier for the second consecutive year. Dedicated exclusively to the promotion of art on paper, Papier is one of the most important faits of it's kind in North America. The event is an important catalyst for the Canadian contemporary art market and constitutes a unique meeting ground for the greater public, art enthusiasts and professionals alike. 

This year, LKAP will feature collages by Guy Maddin, graphite drawings by Sylvia Matas, and ink drawings by Rob Wakshinski. Additionally, we will have a small selection of new works by gallery artists Suzie Smith, Ted Barker, Derek Dunlop, Chantal Dupas, and Jeanette Johns.

The fair runs from April 22 - 24, with a special VIP preview evening on April 21. We look forward to seeing all of our friends in Montreal.

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Mar
12
to Apr 9

Shaun Morin | The Quiet Crescendo

We are proud to announce Shaun Morin's first solo exhibition with the gallery. The Quiet Crescendo will present a new series of paintings building on the artist's well-established personal iconography. Combining this iconography with his constant and varied culling of source imagery, Morin's paintings provide the viewer with endless, scattered narratives. 

"I want to establish the artistic freedom to explore visually within different styles of painting. As the search goes on, the custom visual blends get more difficult to decipher. The less familiar it becomes for me, the more enticing it is to make; it becomes like a search for a first kiss over and over. The more the search goes on for new discoveries the more sophisticated the eye becomes and the deeper the ability for an authentic and original experience to share." 

Shaun Morin a.k.a The Slomotion, graduated from the University of Manitoba School of art in 2004. His art work ranges from oil paintings on canvas to mixed media on paper as well as hand made booklets and outdoor street art installations. Morin has been exhibiting his art work nationally and internationally since 2002, including the Winnipeg Art Gallery, Plug In ICA, J Johnson Gallery (Florida), MoCCA (Toronto), and la maison rouge (Paris). He was a finalist in the RBC Painting Competition, and in 2013 was featured in the “Painting Project”, a Canadian painting survey exhibition at the Galerie UQAM in Montreal.

We look forward to celebrating this new body of work on Saturday, March 12 from 2-5 pm. The artist will be in attendance.

INTERVIEW with Adrian Williams

Interview with Denis Chamberlain of CBC Radio-Canada

Review in the Uniter

Pricelist available upon request.

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Feb
6
to Mar 5

Chantal Dupas | Learning about plants from a book

Lisa Kehler Art + Projects is delighted to announce Chantal Dupas’ first solo show with the gallery. Learning about plants from a book presents two new series of watercolours, expanding on Dupas’ ongoing interest in themes of memory, consumption, and transformation.           

While these themes have remained a constant for Dupas, the past few years have seen her focus shift from fauna to flora. Brought on by spending increasing amounts of time in her garden, she identifies: “I became fascinated with the sadness that hit me with every “weed” I pulled. I couldn’t help but question where this need to control and to “beautify” came from and would watch how the pulled weeds would transform as they wilted in the sun. It was here where I realized that I had my subject matter, still venturing into the abject, such as with the carcasses, but this was something I could bring into the studio with me and paint as it decayed.”

With her series, N 49º5_ W 97º1_, she discovered a new method in which to visually document this decaying process. “The fact that my subject matter changed from day to day, forced me to abandon certain passages and start fresh, allowing the pencil lines and underpainting from the day before to be exposed and therefore expose the painting process itself. This way of working also abstracted the subject, moving it away from a traditional botanical illustration and allowing the image to shift back and forth, both providing information while also negating it. It became not just about painting an individual specimen but also about capturing a moment in time.”

In the second series, Herbarium, she continues to document process, however that process is of someone else’s methods of documentation. As a volunteer at the University of Manitoba’s Herbarium, as well as current role as artist-in-residence at the Belmonte Laboratory (also at U of M), she was able to gain access to a plethora of species native to Churchill. The ways these plants were preserved hold as much weight in Dupas’ painting as did the plants themselves. Areas where tape, or heavy metal discs were used to press the plants down is portrayed with pencil, abstracting the documentation of the plant itself. The result is a delicate rendering of fragmented species.

Learning about plants from a book runs from February 6 to March 5, with an opening reception to be held on Saturday, February 6 from 2-5 pm. The artist will be in attendance.

Image:  N 49º5_ W 97º1_4, 2015. Watercolour on paper, 14 x 11 inches.

About the artist

Chantal Dupas is visual artist based in Winnipeg, Manitoba. She holds a BFA from the University of Manitoba and has studied at the Nova Scotia College of Art and Design, Yale University and the School of Visual Arts (SVA). Although primarily a painter, her work is never limited to one medium. In the past she has worked with various sculptural materials, ranging from bronze to ceramics, and has recently ventured into video and lab-based new media techniques. Her work has been exhibited across Canada, and is in private and corporate collections including TD Bank, and the Province of Manitoba.

Read the interview that accompanies the exhibition.

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Jan
2
to Jan 30

Ted Barker: Detritus

We are pleased to announce Ted Barker's first solo show with the gallery. Detritus highlights Barker's ability to move fluidly between multiple media, and will feature watercolour, conté drawing, and sculpture.

With this exhibition, Barker builds on an established familial iconography through documenting meaningful artifacts: his Opa’s favourite jacket, an empty inkwell. Small remnants of his grandfather’s extraordinary life have an extraordinary impact on the young artist. “A lot of the work originated with a consideration of my Opa's life and the space existing between his affluent background and a fairly fabricated rustic life living in a traditional log cabin in Ontario. From that, I began to think about my own life and what sort of debris or object exists in similar situations

From these deep considerations evolved a new series in which the artist uses these relics to create objects representing various body parts: the hand, the ear, the heart. These individual objects are then documented as watercolours, and produce a full self-portrait of the artist. Ted Barker would like to acknowledge the support of the Canada Council for the Arts in the creation of this exhibition.

Detritus will run from January 2 until January 30, 2016. There will be an opening reception Saturday, January 2 from 2-5 pm with the artist in attendance.

INTERVIEW

About the artist

Ted Barker is a multidisciplinary artist based in Winnipeg. He obtained a BFA (Honors) from the University of Manitoba in 2007. Barker has participated in major exhibitions and art fairs in New York, Montreal, Toronto, Vancouver, and Winnipeg. In 2014, he was the recipient of a major Canada Council for the Arts grant. His work has been written about in Border Crossings, and  Canadian Art. 

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Dec
9
to Dec 24

They picked it. They made it.

We are excited to announce a short group exhibition featuring the entire LKAP roster.  Each artist was invited to select a work (or two) by their fellow artists, and the result is a show running a spectrum of media, from collage to painting to photography. This is an exceptional opportunity to acquire affordable art work made by leading artists working in Winnipeg. 

If anything, this show emphasizes the community we are working towards building here at the gallery, with the ultimate goal of extending this to the public. Winnipeg lays claim to some of the most innovative contemporary artists and They picked it. They made it. is an incredible opportunity to showcase that talent, both locally and nationally.

Karen Asher | Ted Barker | Scott Benesiinaabandan | Michael Dumontier | Derek Dunlop | Chantal Dupas | Erica Eyres | Neil Farber | Jeanette Johns | Krisjanis Kaktins-Gorsline | Guy Maddin | Sylvia Matas | Shaun Morin | Kristin Nelson | Paul Robles | Suzie Smith | Robert Taite | Rob Wakshinski

The show will run from December 9 - 24, with a special opening reception on Wedenesday December 9, from 4 - 7 pm. Consider it an open house of sorts, come say hi to the artists, see the finished gallery, and clink mugs of egg nog. And of course, buy some art.


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Nov
5
to Dec 5

Derek Dunlop: End-Forms

Lisa Kehler Art + Projects is pleased to announce Derek Dunlop’s first solo exhibition with the gallery.

Following up on his recent exhibition of work at the Drawing Centre in New York, End-Forms is a series of paintings and drawings that explore Dunlop’s emotional and intellectual relationship between his materials, the tradition of abstraction, and the ethics of representation.

Dunlop has spent the last year intensely researching colour. He has taken part in multiple residencies in Canada and the US including New York, Toronto, ON, and Banff, AB. Perhaps of most importance was his residency with the Golden Foundation for the Arts in upstate New York which afforded him the opportunity to experiment with every paint GOLDEN makes. Throughout his research, he created over a dozen colour charts (pictured below).

“My process is becoming less systematic and slightly more poetic. I give myself more room to move. Many of the paintings in the show deal with a very basic compositional strategy of creating a square out of a rectangle, and then improvising with materials in order to express a thought or feeling.”

Dunlop considers painting and drawing as cross and interdisciplinary modes of practice. He is deeply influenced by process and the transformative potential of his materials. Within the exhibition, meaning is generated through the connections, disruptions or straightforward associations made between artworks and how they are installed in the gallery. 

End-Forms will run from November 5 to December 5, with an opening reception on Thursday, November 5 from 6-9 pm. Dunlop will be in attendance.

Review in Border Crossings

Review in Canadian Art