{"id":32968,"date":"2016-03-18T14:53:51","date_gmt":"2016-03-18T18:53:51","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=32968"},"modified":"2016-04-10T15:01:02","modified_gmt":"2016-04-10T19:01:02","slug":"bodyworks-at-the-canadian-sculpture-centre","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=32968","title":{"rendered":"Bodyworks at the Canadian Sculpture Centre"},"content":{"rendered":"

Canadian Sculpture Centre consistently brings out familiar friendly faces to every exhibition. They showcase a community filled with support and respect for fellow artists as well as their artistic patrons. Richard McNeill, long time member and host of the Bodyworks<\/em> Reception, took a moment in introducing the artists to pay respects to Al Green who was a long time supporter of the gallery before he passed earlier this year. The family\u2019s continued support of the gallery clearly touched all members of the Sculptors Society of Canada.<\/p>\n

Bodyworks<\/em> is a yearly event at the Sculptors Society as the artists are called on to explore contemporary representations of the human form. Each artist\u2019s unique voice was present in his or her works as everything from the true realism of Saulius Jaskus to the abstraction of Richard McNeill filled the gallery. Figurative representation as a theme allowed many artists to explore new forms for their sculpture. Barbara Fletcher specifically stepped far outside her known zone in \u201cPortrait of an Artist\u201d. Although she began as an artist with figures she quickly moved to abstract, non-figurative, highly geometric works. This piece shows the full circle growth she has come to in her career as an artist, as while the figure still is somewhat guarded she exudes vulnerability to the viewer as she communicates her emotions of being more exposed than ever before.<\/p>\n

\"\"<\/a>Barbara Fletcher, Portrait of an Artist, terra cotta<\/p>\n

Peter Shoebridge also took the opportunity to display a new flatter format for his works. The three sculptures he presented were all so new he was unsure what to think of them personally aside from the desire to explore this new format in a forthcoming series. The terra cotta figure, \u201cBather\u201d, depicts a woman in a moment of quiet contemplation that rests almost flattened to the wall. His other two pieces, \u201cOrbit\u201d and \u201cDreamer\u201d explore the further abstraction of the human figure and seem in constant communication with one another as each piece seems to float in their abstract worlds.<\/p>\n

\"\"<\/a>Peter Shoebridge, Orbit, \u00a0acrylic reinforced hydrocal<\/p>\n

Unlike Fletcher and Shoebridge, Richard McNeill used the opportunity to continue his Streams and Gazer series. McNeill has displayed a consistent interest in the theme of regeneration and rebirth and continues to do so in, \u201cPodflow \u2013 Tanya\u201d and \u201cStream Gazer 6\u201d. The woman figure, Tanya, is an earth goddess-like slightly realistic figure, elongated into a guidepost. The head is a stylized model from life that projects calmness despite the knot that rests at the bottom of the post, which represents a barrier in her stream. \u201cStream Gazer 6\u201d is a much more abstracted male figure who observes both the internal and external worlds as he attempts to grasp what is and is not in the world. Both exude connections to the earthly and bodily world.<\/p>\n

\"\"<\/a>Richard McNeill, Podflow 17 – Tanya, alumina cement aggregate, resin colour encaustic finish<\/p>\n

Saulius Jaskus explored the realism of the male and female figures in his works, \u201cDream Float\u201d and \u201cOffering\u201d. \u201cDream Float\u201d shows a female figure lying on her side in a floating and Classical manner. Jaskus discussed how the model figure in \u201cOffering\u201d provided an interesting challenge through his odd and complex pose, which allowed him to further explore clay use as it was difficult to balance the weight of the sturdy figure. Both offer a necessarily truthful take on the human form and allow Jaskus to showcase his immense skill as a figurative sculptor.<\/div>\n
<\/div>\n
\"\"<\/a>Saulius Jaskus, Offering, plaster<\/div>\n

Gordon Becker provided a detailed and standout sculpture, which included multiple figures and managed to both explore serious themes of journeys and historical art, while finding it\u2019s own humorous and ironic perspective. \u201cThree in a Boat\u201d uses the historical figures of Da Vinci\u2019s \u201cMona Lisa\u201d and Boticelli\u2019s \u201cPrimavera\u201d along with an unspecified, but pointedly unlikable male figure in an effort to portray a trip across the mythological River Styx. The sea is sterile and black as the figures journey on the souls of destruction and are driven by the exposed male figure who Gordon stated is a representative of bankers or men in general with too much power who are leading the world astray.<\/p>\n

\"\"<\/a>Gordon Becker, Three in a Boat<\/p>\n

Elizabeth Merei\u2019s alabaster sculptures were particular standouts in the gallery. John Clinton, Eamon, Camie Geary-Martin,\u00a0Marlene Kawalez \u00a0and Elaine Jacques all presented incredible works that are absolutely worth seeing along with the others.<\/p>\n

\"\"<\/a>Marlene Kawalez, Night, wood, clay on quartz base<\/p>\n

\"\"<\/a>John Clinton, Sitting on the Dock, bronze<\/p>\n

Rhiann Moore<\/p>\n

Images are courtesy of the Canadian Sculpture Centre<\/p>\n

*Exhibition information: March 10 – April 1, 2016, Canadian Sculpture Centre, 500 Church Street. Gallery hours: Tue \u2013 Fri: 12 \u2013 6, Sat: 11 \u2013 4 p.m.<\/p>\n","protected":false},"excerpt":{"rendered":"

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

Bodyworks<\/em> is a yearly event at the Sculptors Society as the artists are called on to explore contemporary representations of the human form. Each artist\u2019s unique voice was present from realism to abstraction<\/p>\n

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