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<\/a><\/figure>\n<\/div>\n\n\nInstallation view of Art Toronto 2024<\/p>\n\n\n\n
There is, as usual, plenty of \u2018non-flat\u2019 sculpture on display. Two that caught my eye are Ken Lum\u2019s <\/a>furniture piece and Stephanie Comaling\u2019s “Spirit Support”, both part of the Focus Exhibition located in the northwest corner of the hall.<\/p>\n\n\n Ken Lum\u2019s installation<\/p>\n\n\n Stephanie Comaling, Spirit Support, 2024, PLA filament, paint, gold leaf<\/p>\n\n\n\n As well, veteran artist Kim Adams has produced a Hieronymus Bosch inspired show-stopper of a Kim Adams, Arrived, miniature models and faux rock<\/p>\n\n\n\n Not far from this sculpture in the so-called verge exhibition area against the south wall I found a the booth of Markham based gallery SSEW Project. It features East Asian contemporary art. One of the beautiful pieces on display is Hui Yu\u2019s “Weightlessness” \u2013 a delicate ink painting on rice paper. It is a reminder of the shifts in the ethnic make-up of Toronto, and Canada more generally. A good dose of less Euro-centric art.<\/p>\n\n\n Hui Yu, Weightlessness, 2023, Chinese ink and color on rice paper, 68 \u00bd x 36 inches<\/p>\n\n\n\n From Quebec I found more pieces on paper, namely, the \u2018page\u2019 drawings of Carole Baillargeon represented by Galerie Jano, Verdun. These four alluring drawing are stained with inks make from natural materials, e.g., oak. <\/p>\n\n\n \u2018page\u2019 drawings by Carole Baillargeon<\/p>\n\n\n\n There\u2019s plenty of good old fashioned painting of course. At Unit-17 (Vancouver) we find three pieces by the young Brooklyn based artist Geetha Thurairajah, who hails from Waterloo. Smart arresting work that reminds us that painting is never dead.<\/p>\n\n\n Geetha Thurairajah, (L-R) Pride Before A Fall; It Was All A Dresm and Double Sided, each 2024, acrylic on linen, 40 x 36 inches<\/p>\n\n\n\n Ironically perhaps, photo-based art is frequently meant to be viewed in person, often because of the scale of the prints and their intrinsic richness. Here are two examples. At Blouin Division\u2019s booth we find two colouful pieces by established artist Sarah Anne Johnson titled TIADIT (she normally provides these cryptic titles to her work). They are prints overlaid with paints and pigments. Also on display at Bau Xi\u2019s booth is Kim Keever\u2019s “Abstract 75604” (again the penchant for peculiar titles). Here we see a vertical composition featuring a cloudy tower-like structure \u2013 scintillating in its depth, glossiness and details.<\/p>\n\n\n Sarah Anne Johnson, TIADIT<\/p>\n\n\n Kim Keever, Abstract 75604<\/p>\n\n\n\n As usual, there is too much to see at this art fair. Lots of treasures. As well, part of the fair\u2019s attraction is the chance to ask questions to the gallerists, dealers and their assistants that populate the hall. Interaction with them is invariably rewarding.<\/p>\n\n\n\n Text and photo: Hugh Alcock<\/p>\n\n\n\n Art Toronto 2024, Installations \/ by Nusrat Papia<\/strong><\/p>\n\n\n\n As I entered the fair in the evening, I realized that exploring all the artworks in just a few hours would be impossible – a whole day was needed! The vast exhibition promised an immersive experience and from the entrance itself the art pieces hinted at an explosion of creativity waiting to be discovered. Here are some pieces that captivated me.<\/p>\n\n\n Installation view of Art Toronto 2024 <\/p>\n\n\n\n The first installed art piece to capture my attention was “Bones” (described as “funny, wish, back”). It immediately brought to mind the quote, “In the end, you need only three bones to be successful: a wish bone, a backbone, and a funny bone.” Examining the wooden pieces closely, I realized the artist is successful to convey her message. <\/p>\n\n\n Zoe Ann Cardinal Cire, Bones (funny, wish, back), 2023, oil, Cezech seed beads canvas, ric rac, home tanned hide, rabbit fur, and porcupine quills on wood, dimensions variable<\/p>\n\n\n\n These art pieces made me squint to find out their message. A close look took me to Slocan Lake and World War II times. It’s the history of Japanese Canadians who were forced to relocate in that area. The frames hold miniature clothes with camp paintings, a beautifully lettered lake map, and dresses sewn for the people. There’s a sad story written in it! <\/p>\n\n\n Emma Nishimura, Slocan Lake, 2013 Etching on gampi with wax and thread<\/p>\n\n\n\n Walking through the exhibit I stopped in front of a breathtaking installation. Sarah Stevenson\u2019s captivating artwork left me mesmerized, with its ethereal beauty and delicate fragility creating a profound sense of calm. The intricate, floating structures awe-inspiring, prompting reflection on the boundaries of presence and absence. <\/p>\n\n\n Installation by Sarah Stevenson, 2024, wire, fishing line, acrylic paint<\/p>\n\n\n\n Claudie Gagnon’s art piece, “Amulettes,” is quite enchanting. The name itself gives the idea that it carries mythical stories that somehow feel real. The glass-encased insects, not only shows how realistic the piece is, but also thought-provoking. <\/p>\n\n\n Claudie Gagnon, Amulettes, 2023, glass, metal, insects, 91.4 x 40.6 x 40.6 cm<\/p>\n\n\n\n “Le m sot Ayiti” deeply resonates with me, capturing the complexities of migration and resilience. Centering Afro-descendant women, this artwork celebrates struggle and determination. Silently yet profoundly, it conveyed the beauty and strength of those experiences.<\/p>\n\n\n Micha\u00eblle Sergile, Le m sot Ayiti, 2024, Jacquard weaving cotton threads, ash wood supports, cathode-ray TV monitor with 15 min 39 sec video loop, 305 x 889 cm<\/p>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n
sculpture titled “Arrived”, which is a miniature mountain populated with pigs and humans. It
epitomizes the physicality that Nielsen speaks of. Nothing flat about this fantasy world of a piece.<\/p>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n<\/a><\/figure>\n<\/div>\n\n\n