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<\/a><\/figure>\n<\/div>\n\n\nInstallation view of Caleb Saraby Sandblom, Noise\/Signal<\/em><\/p>\n\n\n\n He does not lament the lack of originality that follows from this approach, but rather embraces the derivative nature of his imagery. This seems indicative of a postmodernist attitude towards authorship, namely that it is not you or I in isolation that create ideas and images. All is a social construct in this respect. No abidance to the myth of the avant garde here then. That is not to say, however, that his work does not have the stamp of individuality. It is indiosyncratic in an interesting way.<\/p>\n\n\n Home, Visualizer, 2020, acrylic, paper, ink and pencil on board, 9 x 11 inches<\/p>\n\n\n\n Two of the works that I find to be most successful, Laundry Comfort Rites<\/em> and Shitbox Scratchpad<\/em>, are small in scale. In the former there is the outline of a narrative that allows the viewer to engage with the work. There are, oddly, echoes of the art of Paul Klee here, in terms of its intimate scale, deft use of colour and a strong overall composition. The simplified wailing and tearful figures create a real sense of drama in a beautifully economical way. In the latter piece, the images and words are smartly incorporated. These works point to a considerable talent behind them.<\/p>\n\n\n Laundry Comfort Rites, 2021, mixed media, 11 x 11 inches<\/p>\n\n\n\n By contrast, other works on display are less engaging. While, for instance, we get a hint of a narrative in his Boy Is the New Girl<\/em>, with these words pasted on it, little follows. That is to say, the text and imagery are hard for the viewer to connect, though formally it is a very coherent work. As well, the larger works, while well designed, can seem overblown \u2013 especially the monochromes. This fact suggests that Saraby Sandblom\u2019s style and method are perhaps best suited to works on a small scale, which, as a rule, is true of this exhibition.<\/p>\n\n\n Boy is the New Girl, 2021, acrylic, paper and ink on cardboard, 32 x 40 inches<\/p>\n\n\n\n Experimentation is key to his method. He spends hours working out various compositions. Thus, one might explain the seemingly arbitrary juxtapositioning of images, in thematic terms, as being the result of such experimenting. Experimentation is an essential aspect of most artistic practices of course. But, ultimately, any work must be more that just a product of the playful arrangement of elements. What more is difficult to say \u2013 if it were easy we\u2019d have a formula for art production perhaps. At any rate, more content might be beneficial in this case. Given the early stage of his career, the works in this exhibition show a lot of promise. I can\u2019t wait to see what he produces in the future.<\/p>\n\n\n\n Hugh Alcock<\/p>\n\n\n\n Images are courtesy of Gallery 1313.<\/p>\n\n\n\n *Exhibition information: Caleb Saraby Sandblom,<\/a> Noise\/Signal,<\/em> August 2 \u2013 13, 2023, Gallery 1313, Cell Gallery, 1313 Queeen St, W. Toronto. Gallery hours: Wed \u2013 Sat 1 \u2013 5pm, Sun 1-4pm.<\/p>\n","protected":false},"excerpt":{"rendered":"<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n