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<\/a><\/figure>\n<\/div>\n\n\nInstallation view of Barbara Klunder, Fables and Tattoos<\/em>, 2025<\/p>\n\n\n\n First debuted in 2013 at David Kaye Gallery, Toronto, BulletProof Vests<\/em> is a collection of colourful papercut collages, made using hand-crafted washi paper. Packed with intricate detail and symbolism, Vests<\/em> reflects on gun culture and violence that, Klunder suggests, affects not just humans, but creatures of all kinds. A plethora of exotic plants and vines weave amid skulls, birds, fish, insects, and other animals in each of the papercut vests. Looking closer, you will see seamlessly embedded within and in between the animals and plants, words of warning and activism. For instance, in Shotguns<\/em>, the words \u201claser\u201d, \u201cguns\u201d, \u201crifles\u201d become part of the leaves of a plant, whereas phrases like \u201cviolence is hate\u201d, \u201can idea can\u2019t be killed\u201d decorate the vest titled Play Music, Not War<\/em>.<\/p>\n\n\n Barbara Klunder, Shotguns from BulletProof Vests, 2013, paper-cut and collage, 29 \u00bd x 21 \u00bc inches<\/p>\n\n\n\n The choice to use paper\u2014a flimsy, fragile material\u2014to create representations of bullet proof vests\u2014stable and tough\u2014harks back to the basic good-versus-evil in fables. Beauty, nature, and our voices can serve as protection in the fight against violence and death. While the pieces are packed with meticulous detail and colour, it never seems convoluted; everything has its place and adds to the composition overall, a testament to Klunder\u2019s eye for design.<\/p>\n\n\n\n Her skill with design and illustration really comes out full force in the other papercut collection of tattoo designs. Inspired by the imagery in Canadian poet Gwendolyn MacEwan\u2019s writings, Klunder created four papercuts of nature scenes, recalling the historical purpose of tattoos as a way to brandish your loyalties to outsiders and enemies. These artworks are symmetrical and balanced, akin to medieval coats of arms, but otherwise, very modern in line and form.<\/p>\n\n\n Installation view of Barbara Klunder, Fables and Tattoos<\/em>, 2025,<\/p>\n\n\n\n Medieval fables and folklore are more specifically referenced in the new collection of small gouache on wood paintings. In the artist\u2019s statement, Klunder mentions Hieronymus Bosch as inspiration. He was a Renaissance painter, also using wood as a canvas, whose works are highly imaginative, complicated, bustling scenes rich in symbolism and allegory. The connection between the art of Bosch and Klunder’s art is quite obvious, though Klunder\u2019s works aren\u2019t just a rehashing of medieval paintings or fables. Instead, she combines different elements from familiar stories into one image, revealing something new about them, and bringing these historical folktales into the 21st<\/sup> century.<\/p>\n\n\n\n In one of the paintings, the figures of Adam and Eve are replaced by the Tortoise and the Hare, a fable about a race between characters of unequal abilities, where trickery instead of perseverance and grit, was used to prevail and gain power over the stronger opponent. Klunder\u2019s interpretation suggests the inequality between Adam and Eve, between man and woman, and the manipulation of Eve to commit the original sin.<\/p>\n\n\n Barbara Klunder, Adam & Eve \/ Tortoise & Hare, 2024, gouache on wood, 12 x 9 inches<\/p>\n\n\n\n In another piece, the Little Mermaid cradles an infant in her arms, while three swords pierce her body. Each pommel on the hilt of swords displays a symbol: there\u2019s Mars symbol of the male gender, a crucifix, and a serpent. The three swords is a reference to the tarot deck in which the Three of Swords represents pain, sorrow, and betrayal. One can discern that this painting is about the hurtful aspects of motherhood that come from the patriarchy and religion, and also how humans hurt the environment and its creatures.<\/p>\n\n\n Barbara Klunder, The Little Mermaid \/ 3 of Swords<\/em>, 2024, gouache on wood, 10 x 8 inches<\/p>\n\n\n\n In her gouache paintings, instead of an expansive and fantastical backdrop like Bosch, Klunder opts for a more simplistic and dark background, drawing attention to the various characters and symbols. The darkness adds an element of surrealism and a tinge of foreboding.<\/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