Their different styles – Babyn’s conceptual and contemplative installation and Pugliese’s emotional and tranquil paintings – greatly complement each other.
In a dual exhibition, the artists allow their distinct artistic endeavors to reflect, comment upon, and compliment each others’ oeuvres, showcasing a thematically-succinct sister act.
The Museum of Contemporary Art, Toronto, Canada was awarded $5.1 million from Canada Cultural Spaces. Things are looking up for MOCA and the art community was thrilled to hear the news.
I immediately was drawn to the science-fiction aesthetic created by these obstructions and the front space of the gallery that is stylishly painted in a complementary eigengrau grey, building the atmosphere of a post-apocalyptic beach scene.
Though the exhibition certainly leans towards a nostalgic war era’s formal sculptural bias; the artist has successfully put together a show that does not feel out of place in 2017.
Howlett’s painting are layered with intellectual meaning. His symbols are sophisticated. His compositions are unique and a product of a long meditation as well as compositional experimentation.
Noguchi strives to protect against the passage of time that entangles the tumbleweed or will inevitably destroy the marshmallow structures, while Stewart is concerned with preserving and/or reconstructing fading memories.
I am creating these humorous human/animal hybrids or incorporating animals in some way, whether that it is through printmaking, drawing, painting or sculpture.
Sciarrino’s most recent body of work combines digital animation, floor drawing, and hand-blown glass sculpture to examine the dynamic between technology and the material world.
The brilliance of Pattern Recognition is its offering of the chance experience that cannot be replicated anywhere else. It makes us stop, look and, above all, play in the instant we inhabit.
Jackson’s use of this new 3D printing method and the collective creation of the final installation strikes the viewer as particularly resonant in 2017.