{"id":32095,"date":"2016-02-03T14:22:15","date_gmt":"2016-02-03T19:22:15","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=32095"},"modified":"2016-02-24T14:10:54","modified_gmt":"2016-02-24T19:10:54","slug":"the-circle-game-at-lonsdale-gallery","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=32095","title":{"rendered":"The Circle Game at Lonsdale Gallery"},"content":{"rendered":"

The Circle Game<\/em> presents works that take a modern approach on artworks or techniques from the past. Robert Davidovitz uses autoCAD on his acrylic canvases to create randomized wave patterns as an exploration of today\u2019s technology. These works co-exist with Keith W. Bentley\u2019s deconstructions of classic sculptures. Both artists\u2019 different renderings of contemporary pieces blend together seamlessly throughout the gallery as Davidovitz confronts the new ways in which art can be created while Bentley\u2019s works raise questions of the influence of the past on the present.<\/p>\n

\"\"<\/a>Installation view with\u00a0<\/span>Keith W. Bentley\u2019s sculptures<\/span><\/p>\n

Pieces like Bentley\u2019s \u201cCastrating David\u201d stand out immensely. It is the largest sculpture in the exhibition and seems to act as a centerpiece. There is no way to look at the work without being confronted with the original David statue by Michelangelo. However, the artist has adjusted the work enough to allow it to stand on its own. Bentley captures the essence of the original David but turns it around. It shows how art recycles itself through time and can regenerate into a figure that is no longer the idealized man, but rather a human captured by a mythology that is impossible to fulfill.<\/p>\n

\"\"<\/a>Keith W. Bentley, Castrating David, 2014, resin figure, paint, steel and silicone, castration rings,\u00a059 x 23 x 16 inches<\/span><\/p>\n

He similarly rethinks the myth of Eve in \u201cDissecting Eve\u201d. He uses a special material, a delicate flocking, like in a number of his other sculptures. This material cannot be touched without an imprint being left behind. He rediscovers the figure of Eve in the context of a real woman, rather than an icon. She becomes a female who can not be touched without being changed forever. As the gallery’s website states, “By altering their form, Bentley also questions the messages behind these figures. The artist\u2019s personal dialogue with religion, sexuality and the canon of art, find confluence through this exposition. Icons, which have stood for the ideals of masculinity, femininity, and morality, are put into question, making new space for new identities.”<\/p>\n

\"\"<\/a>Keith W. Bentley, Dissecting Eve, 2015,\u00a0resin figure, wood, steel, nylon flocking,\u00a013 x 5.5 x 10 inches<\/p>\n

Davidovitz explores the process of regeneration in a different way. All of his works are made with the same program and while they appear similar, they are all still unique. He uses fibre-art techniques of waving, a typical female occupation. However the final product reminds us more of an op-art painting. The colors themselves rather simple but the way they are woven together give them a sophisticated, still playful pattern. \u201cWave 12\u201d is the largest canvas in the exhibition. The repetition of colors striped in different directions against each other invites the viewer\u2019s eyes to look all over in order to take the whole piece in. The result is an artwork that encourages the viewer to get lost in the lines of the pattern.<\/p>\n

\"\"<\/a>Robert Davidovitz, Wave 12, 2015,\u00a0acrylic mounted on panel,\u00a049.5 x 36 inches<\/p>\n

Even looking at the more technical appearing \u201cWave 7\u201d it is clear that Davidovitz’ works all have their own unique strength despite the same technology they were created with. While Bentley uses directly historical works to inspire his sculptures, Davidovitz uses a technique that is historical – Gunta Stoltz, a member of the Bauhaus established it – to compose his pieces. He mixes the traditions of waving and op-art creating a new, intriguing way of painting.<\/p>\n

\"\"<\/a>Robert Davidovitz,\u00a0Wave 7, 2015, acrylic mounted on panel, 36 x 24 inches<\/p>\n

The sculptures of Bentley and the waves of Davidovitz come together in The Circle Game<\/em> successfully as each artist takes the viewer on a journey of thoughts about how the past and present are able to come together and create a significant moment of cohesion. While all the works are individually interesting, as an exhibition they become even stronger, showing how influences of the past can be regenerated into new artwork, creating new meaning.<\/p>\n

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

Text and photo: Rhiann Moore<\/p>\n

*Exhibition information: The Circle Game<\/em> by\u00a0Keith W. Bentley & Robert Davidovitz, January 16 – February 21, 2016, \u00a0Lonsdale Gallery, 410 Spadina Road, Toronto. Gallery hours: Wed – Sun, 11 – 5 pm.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Rhiann Moore<\/strong><\/p>\n

While all the works are individually interesting, as an exhibition they become even stronger, showing how influences of the past can be regenerated into new artwork, creating new meaning.<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":32275,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,172,1],"tags":[],"class_list":["post-32095","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-rhiann-moore","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/32095","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=32095"}],"version-history":[{"count":25,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/32095\/revisions"}],"predecessor-version":[{"id":32629,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/posts\/32095\/revisions\/32629"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=\/wp\/v2\/media\/32275"}],"wp:attachment":[{"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32095"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32095"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/v2.artoronto.ca\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32095"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}