December 7, 2020 – January 22, 2021

Group Exhibition & Art Sale

Featuring Works By:
Patrice Charbonneau
Laura Demers
Lisa Johnson
Joan Kaufman
Julia Martin
Jim Reid
Keijo Tapanainen
Annie Taylor

Featuring Works By:
Patrice Charbonneau
Laura Demers
Lisa Johnson
Joan Kaufman
Julia Martin
Jim Reid
Keijo Tapanainen
Annie Taylor

Blank Slate, Exhibition Images,
Lonsdale Gallery

Laura Demers

Laura Demers’s practice engages both painting and collage. Her mixed-media works use image fragments to create surrealist landscapes. Though her compositions are richly layered and brightly coloured, they are not calm pastorals. Rather, Demers’s land constructions play with the imaginary, the fabricated and the intangible. The spaces in her work aren’t easy, they force us to look. Just when the eye picks up on a hint of foliage or a grassy knoll, her obliterating gestural abstraction carries us into a new space. Demers’s unstable landscapes speak to a double-edged relationship with land somewhere between reverence and instability.

Laura Demers
Mirage
2015
oil and spray paint on canvas
60 x 48 inches

Laura Demers
Belvedere
2015
oil and spray paint on canvas
48 x 36 inches

Laura Demers, Halfspace & Belvadere, 2015
(Installation View), Lonsdale Gallery

Laura Demers
Crater
oil and spray paint on canvas
24 x 18 inches

Laura Demers
Topography 02
2015
oil, spray paint, and resin on panel
8 x 10 inches

$350.00

Lisa Johnson

Lisa Johnson
Keels, NL
2017
oil on canvas
16 x 20 inches

Lisa Johnson
Hwy 41 Marsh
2019
oil on wood
10 x 13 inches (framed)

Lisa Johnson, HWY 41 Marsh & North Slope, 2019
(Installation View), Lonsdale Gallery

Lisa Johnson
Emerging Shore II
2017
oil on canvas
12 x 12 inches

Patrice Charbonneau

Montreal painter Patrice Charbonneau explores how built architectural environments are influenced by culture, habits, and experience. Influenced by his architectural practice, Charbonneau’s semi abstract renderings of interior spaces capture the intersection between the ways space is imagined, adapted, and inhabited. Charbonneau embraces abstraction as a way of conjuring the particular feeling evoked by a site. His compositions act as a form of visual mapping, which emphasizes that lived space is never neutral. His unique aesthetic sensitivity to rendering space invites viewers into his multi-layered narratives via his sophisticated network of lines and planes.

Patrice Charbonneau
Traverse
2014
acrylic on panel
14 x 14 inches

Patrice Charbonneau, Levure & Traverse, 2014
(Installation View), Lonsdale Gallery

Jennifer Crane

Jennifer Crane
Field Notes
2019
digital image, archival pigment print, ed. 1/5
23 x 34 inches (framed)

Jennifer Crane’s photographic practice investigates the relationship between the body and the lens. Her recent work explores themes of memory, time, place and archival practices, through a fusion of historical, analogue and digital photographic techniques. In her ongoing series “Field Test”, Crane explores time and perception through experimenting with the artistic possibilities offered by long exposure photography. At first glance, the images appear painterly; reminiscent of loose airy impressionistic scenes. The resulting image reveals the artist’s presence and hand. The process of capturing an image in long exposure requires deliberate measured attention to detail, which in turn invites the eye to linger in order to apprehend all the details within her elusive compositions.

Jennifer Crane, Feild Notes Series, 2019
 (Installation View), Lonsdale Gallery

Annie Taylor

Jim Reid

Jim Reid
28-9-10
2010
acrylic on canvas
20 x 16 inches

Jim Reid’s landscape paintings highlight the complex relationship between nature and culture. Paintings from the 1980’s explored the borderlands between urban, agricultural and natural areas. Through the 1990’s the work became more sculptural, with the series Terraforms. These massive assemblages combined man-made materials such as acrylic paint, metal mesh and fiberglass castings with collaged natural material from the site. Reid’s Ferals series (2003-2013) was a typology of individual wild apple trees growing in the forests near his studio. Descended from cultivated trees, these feral apple trees escaped that control and became integrated into the local ecosystem. In the series Forests (2008-2015), repeated forms and obsessively layered surfaces revealed the terrain as ancient, complex and constantly transforming. His latest work, Peel Plain, moves to the open spaces and distant horizons of the historic farmlands below Peel’s section of the Niagara Escarpment. At first glance serene, yet energetic and chaotic, they reflect conflicting forces in a changing landscape.

Jim Reid
22-7-13
2013
acrylic on canvas
16 x 20 inches

Julia Martin

Julia Martin, Come Lie Down, 2016
(Artwork Detail)

Julia Martin, Cut me down/Split me open/Burn me up series, 2016
(Installation View), Lonsdale Gallery

Julia Martin, Impasse, 2016
(Artwork Detail)

Julia Martin
Snap
(from the series Cut me down/Split me open/Burn me up)
2016
photographic print on 100% cotton rag paper
edition of 3
22 x 18 inches (framed)

Julia Martin’s photographs show close-up images of natural elements such as foliage, grasses, plants and animals. These works borrow the filmic language of the establishing shot, the atmosphere in each piece speaking to a space imbued with emotion. For Martin, these are interior landscapes, her own sense of self reflected in found elements. Martin’s photo diary of the land speaks to the artist’s transience and her continued search for a connection to place.

Julia Martin
Seduction Is A Means of Survival
2015
photograph
32 x 24 inches (framed)

Joan Kaufman

Joan Kaufman
Roots & Radicals 7 (Surface Tension II series)
2017
pigment ink on photo rag paper
ed. 1 of 5
17 x 22 inches (unframed)

Joan Kaufman, Woodlands 9 & 10, 2019
(Installation View), Lonsdale Gallery

Joan Kaufman
Woodlands 10 (Woodlands series)
2019
c-print face mounted to plexi,
back mounted to dibond
ed. 1 of 5
32 x 18 inches

Keijo Tapanainen

Keijo Tapanainen’s carbon paper figures are as sensual as they are minimal. Tapanainen captures the beauty and simplicity of the human form in this intimate series of handcut carbon paper work. Figures are originally drawn from life using hand cut carbon paper pasted onto a kraft substrate. The artist renders his subjects using an almost sculptural reductive technique, cutting away elements to create a single composition. The elegant lines and sophistication of these images are juxtaposed with the textural surface of the carbon paper.