![\"\"](\"http:\/\/www.artoronto.ca\/wp-content\/uploads\/2015\/03\/Gavin_Lynch_Press_Image_2015.jpeg\" "\\"Gavin_Lynch_Press_Image_2015\\"")
<\/a>Gavin Lynch. Courtesy of Angell Gallery<\/p>\nLynch\u2019s solo exhibition at Angell Gallery, For Janus<\/em>, brings forward associations of past and present. Noted for being the two-faced god who transverses temporalities, Janus is representative of the movement through time, a journey we experience in Lynch\u2019s paintings. With what I will call an \u2018abstract reality,\u2019 Lynch\u2019s paintings use symmetry and a collage effect to create visions of the Yellowhead Pass forcing the viewer to negotiate their position in time.<\/p>\n Looking at the two large paintings, \u201cThe Rise (Super Symmetry)\u201d <\/em>and \u201cPassage #2 (Broken Symmetry)\u201d, on the long wall of Angell\u2019s west gallery, it is almost as if the viewer is placed in between the two events, behind them \u201cThe Rise\u201d and ahead \u201cPassage\u201d. <\/em>The nighttime scene\u2019s outward symmetry is in the viewers past, standing at the moment of dusk, the viewer continues their journey toward the light in \u201cPassage #2\u201d.<\/em> This traversal of time constructs a narrative for guests, almost as if the viewer is working their way through the dense Canadian wilderness. Lynch\u2019s real-life experiences reflect this journey, \u201cDuring my research trip I went through the same mountain pass twice – once headed east, the next time headed west, a symmetrical journey or palindrome experience of sorts.\u201d<\/p>\n A striking aspect of Lynch\u2019s painting is the collage-like effect. Lynch described this technique as not only a useful methodological tool, but also a challenging way to give the paintings an \u201cinternal reality,\u201d it is \u201cthe sum of the parts [which create] a believable whole.\u201d \u00a0His particular technique leaves behind a compendium of textures, shapes, and lines that form together to create an incredibly detailed scene. Almost tactile, it is this aspect that provides Lynch\u2019s works with a sense of depth, one that vehemently projects a sense of \u2018place\u2019 for the viewer.<\/p>\n It is evident that Lynch\u2019s works look back to his trips travelling the Rockies, and that memory serves the natural world\u2019s transcription onto canvas. While perfectly symmetrical views most likely won\u2019t be found in the mountains, it seems to be the artist\u2019s desire to project the natural beauty of the scene into his works. I would argue that the symmetry Lynch uses does this, providing viewers with an idealistic example of nature, a place to get lost, and a place to move forward.<\/p>\n I asked Lynch what it meant for him to have this solo exhibition here, \u201cToronto is of course kind of the epicenter of Canadian art, a place where many of the painters I\u2019ve looked up to over the years live and work,\u201d and with regards to Angell, \u201cto have a show in this context is really humbling and energizing at the same time; it\u2019s a real honor to be involved with Jamie Angell and his team.\u201d<\/p>\n<\/a>Installation view. Courtesy of Angell Gallery<\/p>\n<\/a>Gavin Lynch, “The Rise (Super Symmetry0″, 2015, oil and acrylic on canvas, 72″ x 96”. Courtesy of Angell Gallery<\/p>\n<\/a>Gavin Lynch, “Passage #2 (Broken Symmetry)”, 2015, oil and acrylic on canvas, 72″ x 96″. Courtesy of Angell Gallery<\/p>\n<\/a>Gavin Lynch, “For Janus #2″, acrylic on canvas, 50 \u00bc” x 72″. Courtesy of Angell Gallery<\/p>\n<\/a>Gavin Lynch, “The Path Beneath Peyto #2″, acrylic on canvas, 35″ x 50”. Courtesy of Angell Gallery<\/p>\n<\/a>Gavin Lynch, “Twillight on the Fraser”, 2015, oil and acrylic on canvas, 22″ x 16″. Courtesy of Angell Gallery<\/p>\n