Season 2016 – 2017
Trevor Kiernander Event Horizon: This Must be the Place
Exhibition: September 2 to 24, 2016
Vernissage: Thursday, September 1 at 6 pm
The McClure Gallery is honoured to feature the recent paintings of Trevor Kiernander. Both this exhibition – Event Horizon: This Must Be the Place – and the accompanying catalogue are undertaken in collaboration with Art Mûr. Approximately 30 paintings, all completed this year, will be simultaneously on exhibit in both galleries. They constitute a coherent and accomplished body of work, conjoining a painterly jouissance and expressive gesture with poised and deftly constructed visual compositions. As the title suggests, they invite our sojourn.
The best of artists identify, in the pursuit of personal meaning, something much more collective. Kiernander’s quest for place and belonging, both aesthetic and real, speaks fervently to our times, marked by an unrelenting sense of diaspora and dislocation. Place, a sense of home, is the elusive antidote. The scale of Kiernander’s paintings and the forms inhabiting them invite not just our eye, but our embodied selves. We feel corporeally the dark hovering shapes or flailing gestures push against or overlap all manner of portals, planes, sumptuous colour fields or the uneasy freefall of empty space. Collapsing inwards they simultaneously reach off the edge of canvas to claim us.
Trevor Kiernander earned his MFA from Goldsmiths, University of London, in 2009. While living in England from 2007 to 2014, he exhibited extensively throughout the UK, as well as participating in exhibitions and projects in Canada, U.S.A., Germany, Russia, and Morocco. Since returning to Montreal in 2014, Kiernander continues to work full-time in the studio. His work is part of national, and international, private and public collections, including Loto-Quebec, Mouvement Desjardins, Conseil des arts de Montréal, and TD Bank Group.
64 pages (39 colour reproductions)
french / english
ISBN: 978 –1-926492 -10-0
McClure Gallery and Art Mûr, 2016
available: McClure Gallery
$ 24.95 + tx
Nicolas Ranellucci Marcher sur les cendres
Exhibition: September 30 to October 19, 2016
Vernissage: Thursday September 29 at 6 pm
Galerie McClure is honored to present Nicolas Ranellucci’s most recent paintings. In the ‘Marcher sur les cendres’ exhibition, Ranellucci seeks to understand the extraordinary forces that escape destruction and annihilation. In order to achieve this, he sometimes undertakes unexpected shortcuts with the juxtaposition of eclectic elements of diverse origins, in an attempt to revive these ruins through their interactions. Fifteen figurative works from small, medium, to large format, as well as a few watercolours and one installation composed of small objects in decline, shape the presented corpus where the artist experiments through the motif of the ruin, the poetic space of memory.
Thus, beyond disappearance; ruin, majestic and rebellious, opens up all kinds of possibilities, even the most opposed: it invites us to enter in memory to rebuild its own story and to establish a connection to freedom. When the building is in ruins and freed of its own servitude, the spirit emerges and is revealed, the basis of memory becomes the support for a new collaboration which allows an exploration of a union thus far unexplored with men and things.
Born in 1983, Nicolas Ranellucci lives and works in Montreal. He holds a Certificate and a Bachelor of Visual and Media Arts from ‘l’Université du Québec à Montréal’. He has won an excellence award in painting in 2010 from the McAbbie Foundation and in 2012 was among the finalists of the RBC Canadian Painting Competition. Since 2014, his work was shown, among others, at the Artists’ Centre AXENEO7, at Galerie Dominique Bouffard as well as at Usine C. In 2016, he will present an installation at the ‘Maison de la culture de Gatineau’ in addition to the present exhibition ‘Marcher sur les cendres’ at Galerie McClure. His work can be found in many public and private collections in Quebec, Canada, and Europe.
2nd Virginia McClure Ceramic Biennial Episode
Exhibition: October 28 to November 26
Vernissage: Thursday, October 27 at 6 pm
Épisode is curated by invited artist/curator Linda Swanson. The exhibition features four artists whose works speak not only to excellence and innovation in ceramics, but to its relevance as a discipline that allows for a specifically corporeal, embodied articulation of contemporary human experience. Swanson’s choice of artists — Phoebe Cummings (Stafford, UK), Benjamin DeMott (Chicago, U.S.), Janet Macpherson (Toronto, Canada) and Meghan Smythe (Los Angeles, U.S.) — has resulted in an inspiring, materially seductive exhibition. Indeed, there is something collectively subversive about their work — subversive in the sense of undermining staid narratives, restrictive tropes, or assumptions about our perceived reality. Each artist recognizes the historical heritage of ceramics, yet offers a highly original and imaginatively provocative vision. Épisode is the second of five biennales taking place between 2014 and 2022.
Phoebe Cummings works across art, design and ceramics to create ephemeral raw clay installations that respond to conditions of site and address the historical while becoming wholly contemporary.
Benjamin DeMott’s practice based on a compassionate awareness and sensibility centers on a dialogue with materiality as a playful pilgrimage into situations of uncertainty.
Janet Macpherson employs animal forms from popular culture to address distinctly human concerns such as religion and our relationship to the natural world.
Meghan Smythe’s figural ceramic sculptures catch characters in a tangled paradox of contradictory extremes: intimacy and brutality, beauty and ugliness; lewdness and tenderness.
Linda Swanson’s artistic interests are grounded in the metamorphic nature of ceramic materials and processes with her work engaging the enigmatic properties of matter at an elemental level.
76 pages (48 colour reproductions)
french / english
ISBN : 978 –1-926492-11-7
McClure Gallery, 2016
available: McClure Gallery
$ 24.95 + tx
Eva Richardson Surface
Exhibition: December 2 to 22
Vernissage: Thursday December 1st at 6 pm
The McClure Gallery is pleased to feature the recent work of Eva Richardson in the exhibition, Surface. Included are approximately 20 canvases from small to medium format and an equal number of small yet elegant collages. This powerfully quiet gathering of works bears witness to a honed aesthetic sensibility cued to an intimacy at once interior and resonant.
Her earlier work sought to capture, in a minimalist abstract idiom, a sense of the land. Richardson’s more recent work finds its impetus, less from the land than from her collages and photographs, inspired by the “found” sites and objects of her urban environment – the stained pages and covers of old books, rusted metal surfaces or the scarred façade of a crumbling wall, all offering their timeworn marks and traces.
Richardson’s earlier predilection for monochromatic hues and the subtle orchestration of tone continues, the limited palette serving to emphasize a sense of immersion in a field, as if the painting reaches beyond its edges into the viewer’s space. And while the small collages, compositionally edge-to-edge, emphasize the flatness of the picture plane, the recent paintings in contrast capture a greater sense of movement, fluctuation and depth within that plane. What most distinguishes the new body of work from the past is the agitation of surface. A certain emotional intimacy accrues to these paintings – as if they are more interior-scape than landscape, capturing ever more fervently a sense of our embodied selves negotiating the lived world, within and without. Gentle rain (2016) poetically renders a sense of rain falling upon us, within us, as if we are immersed in a weather-drenched atmosphere. Richardson’s marks speak of the fragile notations of the psyche that have not yet found verbal articulation. Therein lies their intimacy, their pull and tug. We scan the painterly fields to linger in their nuances, as we might read and re-read the lines of a poem, worrying it towards meaning.
Born in Montreal, Eva Richardson studied painting and drawing at the Glasgow School of Art in Scotland and at Concordia University in Montreal. In addition to painting, she also makes small collages from found materials and takes photographs of close-up details of walls and other weathered surfaces that she describes as “found paintings”. The recipient of numerous grants and awards, Eva Richardson has exhibited her work in Canada, the USA, the U.K., Norway and Japan. She lives and works in Montreal.
40 pages (32 colour reproductions)
french / english
ISBN : 978 –1-926492-12-4
McClure Gallery, 2016
available: McClure Gallery
$ 20 + tx
Joëlle Morosoli Chaos pénétrable
Vernissage: Thursday January 5th at 6 pm
Exhibition: January 6 to 28
The McClure Gallery is pleased to feature the work of Joëlle Morosoli in the exhibition, Chaos pénétrable. For more than twenty years, Morosoli has created sculptures in motion. For this exhibition, realized in collaboration with Rolf Morosoli, two major installations, Trame funeste and Dédale végétal, are featured, providing a multi-sensorial as well as emotive experience for the viewer. “I create kinetic installations in which movement is used to appeal to the emotions. I attempt to express a range of feelings that only rhythm manages to convey. The movement that I create is not the simple animation of objects, an attempt to make forms move, but rather my aim is to give form to movement by transforming the gallery, by presenting shapes and altering colours, and by moving shadows that take over the space.” Viewers are invited to wander through the installation. By combining their own movements with those of the works, they can live the experience of duration, thus participating in the invention of a form of time.
In the larger gallery space, a shapeless tangle of ropes rises up from the floor. These ropes become a wall of bars, creating a series of barriers on which human shapes are formed. As the ropes are fully extended, these figures, through their bodily expressions, suggest a desire to escape. Trame funeste is an allegory for the hidden world of our taboos and our powerlessness. The installation Dédale végétal, in the smaller front gallery, features a series of large wood panels hung in a way that suggests or references the path of its falling. The vegetal shapes, which allow light to filter through the panels, suggest a ghostly forest in which one might easily become disoriented or lose their way.
JOËLLLE MOROSOLI obtained her Doctorate in Aesthetics, Science and Technology in the Arts at Paris 8 University in France. She has participated in more than thirty solo shows and realised twenty five public art pieces. She co-founded the art journal Espace, for which she was assistant editor from 1987 to 1997. In 2007, she published an essay L’installation en mouvement: une esthétique de la violence (“The installation in motion: an aesthetics of violence”) with the Editions Art LeSabord in which she discuss movement in body art and in kinetic, video and digital installations. Morosoli lives and works in Montréal and teaches visual art at Cegep de Saint-Laurent.
Conceived in Colour – Barry Allikas, Caroline Hart, Jennifer Lefort, Susannah Phillips – Invited Curator: Leopold Plotek
Vernissage: Thursday February 2nd at 6 pm
Exhibition: February 3 to 25
Talk: Thursday February 9 at 7 pm
As part of our Invited Curator Program, the McClure Gallery is pleased to feature Leopold Plotek’s exhibition Conceived in Colour, which includes the work of artists Barry Allikas, Caroline Hart, Jennifer Lefort, and Susannah Phillips. Conceived in Colour presents four completely different ways of imagining painting in colour. This exhibition is a clash of harmonies – the reserved contrasted with the exuberant, fluid with formal, planned with improvised. It is contemporary painting, live and direct!
In Leopold Plotek’s words: “Despite the proliferation of books and courses on colour, comprising popular science, cultural history, fashion journalism, decorating manuals, self-healing primers, serious art-history and God knows what else, the painter’s job of dealing with colour never seems to become one bit easier. Or perhaps it just appears that way to one, like myself, for whom colour has always been fraught. Apart from the bit of ‘theory’ about the principles of colour-contrast, which can be learned by a quick fifth-grader in an hour, it looks as if just about everything that’s useful has to be gained by experience (I mean both of painting and looking). It’s remarkable that when colour is striking enough in someone’s work to merit attention, it’s mostly a matter of the nuances of individual style, a kind of ‘thinking-in-colour’ which appears to be innate.
The four painters whose work I propose for your delectation stand in marked contrast to each other, except in their relation to colour, which is immanent and germinal. They also show how the strength of colour in modernism and its successors, while not always dominant, has survived and prospered.”
Barry Allikas lives and works in Montreal, and has exhibited across Canada, as well as internationally. His work is in many important collections, including the Montréal Museum of Fine Arts, Musée National des beaux-arts du Québec, Hydro-Québec, Caisse de Dépôt and Banque National.
Caroline Lindsay Hart lives and works in Montreal. She holds a degree in Studio Arts from Concordia University where she has been an adjunct professor of painting and drawing for over a decade. Her work has been exhibited in Montreal, London, Florence, and, most recently at Galerie Robert Poulin in 2015.
Jennifer Lefort lives and works in Gatineau. In recent years she has exhibited her work in Canada and internationally, for instance, with the Musée d’art contemporain des Laurentides and the Galerie UQO in Gatineau for which she was awarded the Prix du CALQ-Œuvre de l’année.
Susannah Phillips lives and works in New York City. She attended The Slade School of Fine Art and lived in Montreal for many years. She is represented by Lori Bookstein, NYC and was awarded the Joseph and Anni Albers Foundation residency 2014 and 2017.
Sarah Stevenson – Fragile
Vernissage: Thursday March 2nd at 6 pm
Exhibition: March 3 to 25
The McClure Gallery is pleased to feature the work of Sarah Stevenson in the exhibition, Fragile. This body of work is composed of a number of insubstantial objects suspended from the ceiling of the gallery at various heights so that they appear to float within the space they occupy. These pieces are quite voluminous, yet have very little mass. Each one is a shape whose surface contours are mapped by a network of lines made of thread and wire, forming a fragile cage containing empty space.
The process of constructing the objects involves the production of diagrams and a system to convert these to three-dimensional forms. Because they are made only of linear elements, threads, and wire rings, the objects resemble three-dimensional drawings in space. The weight of each piece, although it is minimal, draws some threads taut, making them appear to be straight, ruler-drawn lines. Others, taking less weight, are slack and appear drawn by hand. These lines form relatively precise grids, similar to computer-generated renderings, however the symmetrical shapes described by them appear more organic than geometric. Most of these shapes are non-representational but may bring to mind various recognizable forms: architectural elements, vessels, bits of anatomy, or tiny creatures seen under a microscope.
The near-weightlessness of the works makes them responsive to any movement in their vicinity. Those that are suspended from a single point have a tendency to rotate slowly around their vertical axes. The almost imperceptible motion of these fragile forms makes them seem like traces, afterimages left by things that have disappeared or handmade holograms of things that have not yet come into being.
SARAH STEVENSON lives and works in Montreal. She holds a BFA from University of Victoria, British Columbia, and has had numerous group and solo exhibitions in Canada since 1987. Her work is in various private and public collections, among them La collection de prêt d’oeuvre d’art du Musée du Québec, Leonard and Bina Ellen Gallery, and the Canada Council Art Bank. She is represented by Galerie René Blouin in Montreal.
Annual Student Exhibition 2017
Vernissage: Thursday March 30 at 6 pm
Exhibition: March 31 to April 15
Students registered in the winter session of the Centre’s School of Art are invited to exhibit their work. The exhibition includes a variety of media and gives students the opportunity to exhibit in the context of a professional gallery. It’s also a chance to appreciate the great diversity of creative activity that takes place at the Centre.
Frédérique Ulman-Gagné – Les Choses
Vernissage: Thursday April 27 at 6 pm
Exhibition: April 28 to May 20, 2017
Artist’s Talk: Thursday May 4 at 7 pm
The McClure Gallery is pleased to feature the recent work of Frédérique Ulman-Gagné. For the exhibition LES CHOSES, the gallery will be taken over by large-scale paintings that open up a dialogue with the exhibition. LES CHOSES will be comprised of visual scenes without characters and stories. Instead, the scenes focus on the vitality of seemingly endless colours and abstract forms.
Her current research is focused on the specificity of sites, leading her work to go beyond the limits of the rectangular canvas. The things that surround Ulman-Gagné’s paintings reappear in them as debris and fragments removed from their context and presented without hierarchy: colour tests, studio objects, household objects, etc. In the process of gradually becoming installations, her works start to take over the exhibition space by reaching up to the ceiling so as to extend beyond it. The installation then becomes the image of a generalized exasperation.
Frédérique Ulman-Gagné uses abstraction in peculiar compositions: at once excessive and minimal in order to upset the order of things. In the process, she alters our cozy relationship to the constructed object and to the “real”. Each of the paintings becomes a site for tragedy to play itself out, even as it is outmaneuvered by the simplicity of patterns. Painting as such becomes reconfigured as a fusion with the actual space to the point of no longer being distinguishable from it.
FRÉDÉRIQUE ULMAN-GAGNÉ lives and works in Montreal. She obtained a BFA from Concordia University in 2007 and a Master degree from UQAM in 2010. She has had various solo exhibitions in Canada since 2008 and participated in various group shows. She has received grants from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. Her work is in private and public collections, among them the cities of Laval and Longueuil. She is represented by Galerie Dominique Bouffard in Montreal.
6 pages (7 colour reproductions)
french / english
ISBN : 978 –1-926492-14-8
McClure Gallery, 2017
available: McClure Gallery
Brown’s Hill – Sara Peck Colby, Renée Duval, Holly King, Peter Krausz and Song Nan Zhang. Invited Curator : JoAnn Meade
Vernissage: Thursday May 25 at 6 pm
Exhibition: Mai 26 to June 17, 2017
The McClure Gallery is honoured to feature this exhibition, in collaboration with the Colby-Curtis Museum of Stanstead, Brown’s Hill, curated by JoAnn Meade. The exhibition brings together five artists and their unique perspectives on a singular landscape. Intersecting Chemin Amy, in the Eastern Township of Stanstead, is an undulating gravel road named “Brown’s Hill”. This is farming country — both cattle and produce. Arriving at the summit of a particular hill on this road on a fine summer’s day, one is suddenly swept up by a pleasurable rush of emotions. The first experiences are of wonder and awe, but they slowly give way to a pervasive sense of fecundity and tranquility, as seemingly endless rolling hills, valleys and verdant farmlands recede in all directions to a distant range of mountains and sky.
How would an artist interpret this site? The question was posed to five very diverse and accomplished artists, not necessarily or primarily landscape painters, but steeped in the inspiration landscape has to offer. Their visual interpretations form the basis of this exhibition.
The exhibition at the Colby-Curtis Museum will be from July 7th to July 30th. www.colbycurtis.ca
SARA PECK COLBY lives and works in Montreal. She has exhibited her painting in Montreal since the early 70s, including solo exhibitions at Gemst Gallery, Galerie Soleil, as well as Centaur Theatre Gallery.
RENÉE DUVAL lives and works in Montreal. She has exhibited throughout Canada, the U.S. and France and has a number of works in both public and corporate collections. She is currently the Gallery Exhibitions Director of the McClure Gallery at the Visual Arts Centre.
HOLLY KING teaches at Concordia University and is represented by Art Mûr Gallery in Montreal. Her photographs have been exhibited in various solo and group exhibition across Canada and internationally and she has also executed various public art commissions.
PETER KRAUSZ was born in Romania and is a professor at the University of Montreal. His paintings have been exhibited in various group and solo exhibitions across Canada and internationally. His works are part of many public and corporate collections.
SONG NAN ZHANG was born in Shanghai in China where he studied art. He pursued his studies in Paris before he immigrated to Canada. Since 1991, his works have been shown in various group and solo exhibitions in Canada and China.
Gallery Hours : Tuesday to Friday 12 pm to 6 pm; Saturday 12 pm to 5 pm
Brown’s Hill – Sara Peck Colby, Renée Duval, Holly King, Peter Krausz and Song Nan Zhang
Invited Curator : JoAnn Meade
45 pages (15 colour reproductions)
English / French
ISBN : 978-1-926492-15-5
McClure Gallery, 2017
Available : McClure Gallery
$24.95 + tax