{"id":42103,"date":"2019-01-28T16:37:36","date_gmt":"2019-01-28T21:37:36","guid":{"rendered":"https:\/\/www.artoronto.ca\/?p=42103"},"modified":"2019-01-29T14:20:52","modified_gmt":"2019-01-29T19:20:52","slug":"kudos-v-at-canadian-sculpture-centre","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=42103","title":{"rendered":"Kudos V at Canadian Sculpture Centre"},"content":{"rendered":"

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Installation view of Kudos V. Courtesy of\u00a0the Canadian Sculpture Centre<\/p>\n

As a continuation to their longstanding KUDOS<\/em> series, the Canadian Sculpture Centre brings their latest group exhibition showcasing the work of the Sculptors Society\u2019s membership. The content is less defined by any overarching themes, but rather celebrates the multi-faceted interests and extraordinary talent that the individual artists possess. Featured in this show are pieces by returning artists Edward Falkenberg, Barbara Fletcher, Camie Geary-Martin, Karen Stoskopf Harding, Elaine Jacques, Saulius Jaskus, Marlene Kawalez, J. Mac, Richard McNeill, Peter Shoebridge, Dina Torrans, and Judi Michelle Young. There is also a debut piece for the Society\u2019s newest member: Chippie Kennedy.<\/p>\n

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New member, Chippie Kennedy with Gaea, bronze. Photo: Simon Termine<\/p>\n

The sheer diversity in this collection is truly impressive. It encompasses busts, full- and partial-body portrayals, constructed pieces, readymades, and even sculptural landscapes. Likewise, they range from the purely abstractive to the purely representational, with plenty of compromises in between. Mediums include metalwork, woodcraft, plaster techniques, concrete casting, and richly varied assemblages. The culmination of these idiosyncratic works truly evinces the passion that these artists dedicate to their work, drawing from deeply personal experiences and\/or socio-cultural themes that are brilliantly encapsulated in their sculptures.<\/p>\n

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Installation view of Kudos V. Courtesy of the Canadian Sculpture Centre<\/p>\n

Artists Jaskus, Shoebridge, Harding, Geary-Martin and Kennedy present their intricate, semi-naturalistic busts. This sculptural genre has been a timeless artistic tradition, yet their particular approaches strive to diminish those pervasive norms and instead portray unique characteristics. Despite the inherently static quality of sculpture, their works evoke strong emotional resonances that lend to their lifelike quality.<\/p>\n

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Saulius Jaskus with Jean Marquis and Elena at Rest, both plaster.\u00a0Photo: Simon Termine<\/p>\n

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Peter Shoebridge, Clea, bronze.\u00a0Photo: Simon Termine<\/p>\n

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Camie Geary-Martin with Head Study, bronze.\u00a0Photo: Simon Termine<\/p>\n

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Karen Stoskopf Harding with Mohawk Mask and Mayan Mask, both bronze. Photo: Simon Termine<\/p>\n

Meanwhile, Mac, Kawalez, and Jacques shift their focus to full or partial bodily forms. Here, the representation of gesture is the main instrument used to portray the intrinsic themes. The forms tend towards the representational, yet the choices in how they are positioned, composed, and presented add new enticing complexities.<\/p>\n

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J. Mac with her sculptures.\u00a0Photo: Simon Termine<\/p>\n

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Marlene Kawalez with Secrets of Secrets, fired clay, metal, and mixed media.\u00a0Photo: Simon Termine<\/p>\n

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Elaine Jacques, Moon Bath, alumina cement.\u00a0Photo: Simon Termine<\/p>\n

Lastly – but certainly not least – there are the works of Fletcher, Falkenberg, Torrans, Young, and McNeill, which almost completely subvert the concepts of representation and realism. They instead emphasize suggestions of form with more elusive qualities that are all the more curious.<\/p>\n

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Edward Falkenberg with TerraForm and Elysian, both wood and mixed media.\u00a0Photo: Simon Termine<\/p>\n

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Barbara Flecther with Hinged and Open, cast aluminum and mirror & Power Struggle, cast bronze and mirror. Photo: Simon Termine<\/p>\n

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Dina Torrans with Forest Warrier Artefact, metal, stone, and mixed media.\u00a0Photo: Simon Termine<\/p>\n

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Richard McNeill, Summit Gazer 2, bronze, steel, alumina cement (left) & Judi Michelle Young, Tears of Hope, andonized aluminum, glass, copper, and cotton.\u00a0Photo: Simon Termine<\/p>\n

Sadly, this will the final exhibition for the Canadian Sculpture Centre, at its Church Street location. Throughout its history, it has served as an outlet for artists to portray their body of work, hone their craft, and experiment with new ideas. They have time and time again demonstrated the thematic and emotional gravitas that sculptural mediums can elicit, as well as its unwavering ability to master and challenge the physical form. More importantly, the space offered a hub for countless artists, enthusiasts, and visitors to engage in the community it fostered. Hopefully we can look forward to an eventual reopening, but for now, let us take this opportunity to show our support for institution and revel in the experiences they helped to generate<\/p>\n

Simon Termine<\/p>\n

*Exhibition information: January 17 – February 8, 2019,\u00a0Canadian Sculpture Centre, 500 Church Street. The exhibition is open till December 7, 2018. Gallery hours: Tue \u2013 Fri, 12 \u2013 6; Sat, 11 \u2013 4 pm.<\/p>\n","protected":false},"excerpt":{"rendered":"

by Simon Termine<\/strong>
\n
Sadly, this will the final exhibition for the Canadian Sculpture Centre, at its Church Street location. <\/p>\n

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