-- Advertisement --

                           

-- Advertisement --

Canadian Art

Feature

Stephen Andrews: An Interview on the Lightness of Being

Paul Petro Contemporary Art, Toronto Nov 20 to Dec 19 2009
Stephen Andrews <I>The View From Here</I>  2009  Installation view  /  photo Andrew Cecil  Stephen Andrews The View From Here 2009 Installation view / photo Andrew Cecil

Stephen Andrews <I>The View From Here</I> 2009 Installation view / photo Andrew Cecil

Light and dark, mass culture and individuality, and the universe and the self are just a few of the dualities at play in “As Above So Below,” an exhibition of new paintings by Toronto artist Stephen Andrews currently on view at Paul Petro Contemporary Art. In the past, Andrews has been lauded for works instilled with these same kinds of poetic, subject-object oppositions, whether in the poignantly rendered portraits of his early 1990s series Facsimile, which depicted the degraded silhouettes of HIV-AIDS victims based on the low-tech imagery of faxed memorials, or in the more recent series of rubbed-crayon drawings, The Quick and the Dead, featuring stills derived from video footage of the Iraq war.

Andrews’ new paintings turn away from appropriated imagery of contemporary world events to a more metaphysical examination of personal existence. Take the exhibition’s anchor piece, The View From Here. At a glance, the monumental triptych of a tightly cropped crowd scene registers as an abstraction, the blurred figurative elements hovering in and out of densely layered colour. On closer inspection, individual narratives begin to resolve—a figure standing to applaud, another leaning forward with a beer in hand, a pair engaged in a conversation—and suddenly these isolated moments of spectatorship become a mosaic portrait of everyday being. (In fact, a massive mosaic version of the work has been commissioned for the Trump Tower in Toronto.) A companion piece, 03.01.2009, reverses that contemplation from microscopic to macroscopic, with the infinite night sky highlighted by pinpoints of starlight. The painting’s glossy surface adds a further element of personal reflection.

In this audio interview recorded at the gallery, Andrews expands on related themes. (Running time 8 minutes 31 seconds)

Audio Stream: Stephen Andrews: An Interview on the Lightness of Being

This article was first published online on December 3, 2009.

RELATED STORIES

  • Peter Bowyer/Ron Giii

    In his large-scale drawing and sculptural installations, Peter Bowyer creates engaging narrative tableaux with subtle critical subtexts.

  • Maura Doyle: Castor Craftsmanship

    The imitation of nature is a longtime tradition in art from Breugel to Bateman. Toronto’s Maura Doyle, however, goes further, reframing animals as artists in their own right. Her show “New Age Beaver,” for one, repositions castors as creatives.

  • Jennifer Murphy: Cut and Paste

    Since she graduated from Queen’s University a decade ago, artist Jennifer Murphy has been gradually charming gallery-goers with her playful but well-weighed collage works. Now, like a magical pop-up book, her work is pushing the strategy into three dimensions.

 

FOUNDATION NEWS

More Foundation news

ONLINE

  • Will Munro: Ecstatic Legacies

    In 2010, at the age of 35, Toronto artist/DJ/promoter/activist Will Munro succumbed to brain cancer. Here, David Balzer reviews the first big survey of Munro’s work, which makes apparent how talented, prolific and perceptive this creator was.

  • Painting Canada: Artistry in the UK

    The Dulwich Picture Gallery’s recent Group of Seven show was one of the UK museum’s biggest hits ever, drawing 41,000 visitors. The attention was deserved, writes Sarah Milroy, as the exhibition offered new insights even to seasoned Canadian-art observers.

  • David Altmejd: In the Belly of the Beast

    The Occupy movement has galvanized the way we think about haves and have-nots. But where do artists fit in? As Joseph R. Wolin observes in this review of David Altmejd’s show at the Brant Foundation, context can be as powerful as content in determining the split.

  • A Stake in the Ground: When Language Wounds

    What happens to identity when our relationship to land and language is disrupted? This is a key question raised in “A Stake in the Ground,” an exhibition of works by 25 First Nations artists, curated by Nadia Myre, that’s currently at Montreal gallery Art Mûr.

  • Canadianartschool.ca: Tips for a Successful Winter Term

    Our education and careers site has just posted more stories and tips to help students achieve a great winter term. Highlights include a profile of internationally renowned fashion designer Jeremy Laing, a Q&A on grad schools and more.

More Online

- Advertisements -



- Advertisements -
Report a problem