{"id":25053,"date":"2014-08-28T16:30:59","date_gmt":"2014-08-28T20:30:59","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=25053"},"modified":"2014-09-29T14:44:55","modified_gmt":"2014-09-29T18:44:55","slug":"hutchinson-ochoa-opening-reception-at-angell-gallery","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=25053","title":{"rendered":"Hutchinson \/ Ochoa Opening Reception at Angell Gallery"},"content":{"rendered":"

\"\"<\/a><\/strong><\/p>\n

Opening Reception: Friday, August 22, 2014 \/ 6 – 9 p.m.
\nAngell Gallery<\/strong><\/p>\n

The\u00a0opening reception at Angell Gallery featured two exhibitions: When The Lighthouse is Dark Between Flashes <\/em>by Canadian artist Daniel Hutchinson and Overwrought <\/em>by Toronto artist Rafael Ochoa.<\/p>\n

\"\"<\/a>Artists Daniel Hutchinson and Rafael\u00a0Ochoa conversing with Guests.<\/p>\n

The front room of Angell Gallery holds the works of Rafael Ochoa. His digital paintings, showcasing the complexities and beauty of nature, are lit by the natural light coming in from the large front window, which creates a bright and comfortable space. Ochoa\u2019s paintings invoke aspects of traditional art historical pieces; one can easily see the connection to Baroque modeling and Dutch still-life, especially in Autumn Quinces, <\/em>Ochoa\u2019s first digital print. The gallery\u2019s high white walls and concrete floor provide a perfect, subtle, backdrop for the colorful paintings done by Ochoa.<\/p>\n

\"\"<\/a>Installation view with Rafael\u00a0Ochoa’s Rafael Ochoa, Man with a Black Hat<\/em> (left)\u00a0<\/em>and 7 Squashes<\/em> (right).<\/p>\n

\"\"<\/a>Artist Rafael Ochoa\u00a0with his work,\u00a07 Squashes<\/em>.<\/p>\n

\"\"<\/a>Guest with Rafael Ochoa\u2019s Woman with Radicchio.<\/em><\/p>\n

The main gallery space, with the large white walls lit by spotlight, creates an open atmosphere for the dark abstract paintings of Daniel Hutchinson. Hutchinson\u2019s work often draws inspiration from the universe; the works\u2019 titles reflect their associations with the macrocosm and the materials used. His circular works, such as Painting for a Frame (As Molecular Cloud)<\/em>, create almost a black-hole effect against the blank wall, one that pulls the viewer in forcing a closer inspection of the lines, brush strokes, and manipulation of light. All of his works incorporate the use of light and the gallery\u2019s open space and track lighting really permits Hutchinson\u2019s work to showcase its dynamic energy.<\/p>\n

\"\"<\/a>Installation View with (from left to right): Painting For Two Sterling Boards, <\/em>Painting For a Picture Frame (As Lunar Streamers),\u00a0\u00a0Painting For A Frame (As Molecular Cloud).<\/em><\/p>\n

\"\"<\/a>Artist Daniel Hutchinson with Painting for A Sterling Board (As Chiral Symmetry).\u00a0<\/em><\/p>\n

\"\"<\/a>Guest with Daniel Hutchinson, Painting for Electric Light (X-Painting).<\/em><\/p>\n

\"\"<\/a>Daniel Hutchinson, Painting For Electric Light Solar Winds<\/em>.<\/p>\n

The opening event felt like a reunion; many times throughout the evening both artists said, \u201chello\u201d to colleagues and friends. The opening at the Angell Gallery felt small and comfortable, casual and elegant. Hutchinson was even accompanied by his wife and young son, a few others brought their children, and many came with friends. The tight-knit familiarity made the evening an ebullient one at the Angell Gallery.<\/p>\n

\"\"<\/a>Artist Daniel Hutchinson with guests.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

Text and photo: Brinae Bain<\/p>\n

*Exhibition information:\u00a0Daniel Hutchinson:\u00a0When The Lighthouse is Dark Between Flashes\u00a0<\/em> and Rafael Ochoa: Overwrought, <\/em>August\u00a022 – September 27, 2014,\u00a0\u00a0Angell Gallery, 12 Ossington Avenue, Toronto. Gallery hours: Wed\u00a0– Sat, 12 –\u00a05 p.m.<\/p>\n","protected":false},"excerpt":{"rendered":"

August 22, 2014 \/ 6 – 9 p.m.<\/p>\n

by Brinae Bain<\/strong><\/p>\n

Featured two exhibitions: When The Lighthouse is Dark Between Flashes<\/em> by Daniel Hutchinson and Overwrought<\/em> by Rafael Ochoa.<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":25047,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[152,41,1],"tags":[],"class_list":["post-25053","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-brinae-bain","category-events","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/25053","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=25053"}],"version-history":[{"count":15,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/25053\/revisions"}],"predecessor-version":[{"id":25447,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/25053\/revisions\/25447"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/25047"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=25053"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=25053"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=25053"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}