G A L L E R Y
A R C T U R U S
The Daily News
Today we are getting clear,
There are days that seem to have no colour in them
when the best we can do is to ride the waves.
Deborah started making sculptures just like she is making collage, in response to Daniel's drawings.
It seemed they are having joyful conversation through their work.
Deborah's talent is that she can actually go into art work and find the truth of what the artist saw.
It seems that she can enter from behind, from the inside out.
This drawing by Daniel Hanequand is one of eight in a series entitled 'b e c o m i n g w h a t w e d o'
showing in the upper collage gallery at Gallery Arcturus and is part of an ongoing reveal of Hanequand's work.
The cactus is growing in the adjoining E.J.Gold Gallery.
They seem to have a symbiotic relationship.
When we say yes to something we are committing to it often without giving it much consideration.
This building on the corner of Parliament and Queen was a used furniture business for as long as I can remember. It's empty now and will probably be torn down for a condo which they will not paint turquoise. There seems to be construction on every downtown street this summer forcing many small businesses to close. In this photo the red sign and blue deserted store front are a treat for the eye. Sometimes art can tell a difficult story beautifully.
Today we had the privilege of seeing a small fraction of the collected works of Daniel Hanequand (deceased) at his wife's home here in Toronto. There is nothing to compare with seeing an artist's original works, up close, uninterrupted by glass, not just one isolated piece but a whole lifetime of drawings and paintings. Some of his finest work was done using pencil, (as is shown above), also pen and ink, pencil crayon and paint. It is truly a staggering body of work. Over the next year, we at the gallery with the generous assistance of his wife Maria-Carla Carrara, look forward to exhibiting his work in the five gallery spaces. Please check our website to follow its unfolding.
what is the difference between a ball and a bowl
it's almost as though the ball was carved out from the bowl
that the bowl is the shell of the ball
and is balancing something that is carried and moves with us
different from balancing something that stays still?
These pieces in the upper collage gallery seem to bring the human element to the current exploration of
'a tenuous balance' returning to the original description of how balance must be found within movement.
Walking into the library, the E.J. Gold Gallery, this is the figure that meets you.
She is looking at you looking at her, a mutual regarding.
It is an expression known from the inside,
recognized and appreciated this morning by Sae who took this picture.
Then looking at this picture we realized that the message, 'Don't Make Any Sudden Moves'
is what we need to say to viewers visiting the current exhibit 'a t e n u o u s b a l a n c e'.
All of the sculptures in the gallery space have been carefully assembled using
weight, gravity and tension to achieve a stable but precarious balance and must therefore
be approached with stillness and attention. (no glue, screws or nails have been used)
Art has always been a way of telling the story of being human, life and death, struggle and joy.
Art lets us transform our experience into a form that we can see and digest.
Our individual lives seem such a complexity of detail,
woven so tightly that it is difficult to see the one string that ties it all together.
You're sick of hangin' around and you'd like to travel
Get tired of travelin' and you want to settle down
I guess they can't revoke your soul for tryin'
Get out of the door and light out and look all around
Sometimes the light's all shinin' on me
Other times I can barely see
Lately it occurs to me what a long, strange trip it's been
Truckin', I'm goin'home. Whoa whoa baby, back where I belong
Back home, sit down and patch my bones, and get back truckin' on
Dying, you tore a hole in life
Through which your gentle spirit slipped.
And in the fabric of my world,
A little rend that will not knit.
Written for Vivian's mother Anne Glass
by her friend Adele Wiseman in 1982
Jamie left this morning just after 11am. The Grateful Dead was one of his favorite bands and this song quoted, 'Truckin'
seemed a perfect exit song. Vivian remembered the poem written for her mother and wished to share it with Jamie.
The collages were done yesterday when we were each holding him in our hearts.
PART I is by deborah harris PART II is by Eron Boyd PART III is by Sae Kimura PART IV is by Vivian Felsen
A very dear friend of ours, Jamie LaTrobe is moving quickly towards departing from this earth. Jamie took this photo and posted it on his blog as 'What's New'. We are hoping with all our hearts that this is a premonition of his own taking flight.
Jamie has shared with us the richness of his seeing, the kindness and compassion of his being. His photographic work is a celebration of life.
Please give yourself the pleasure of meeting Jamie and his work by visiting dragonwhistle.ca
what is perfect?
a feather and the bird it came from
each petal and leaf and blade of grass
a bee, an ant, the bark of a tree
Maybe what we draw or paint or sing or dance
is our attempt to know what is perfect,
an attempt which inspires us humbles us and brings us into a relationship with perfection.
A shadow is not the same as a reflection. There are no details or colors in a shadow,
just the form slightly stretched or twisted but always recognizable.
It seems somewhat magical to see this thin film of myself easily sliding upon the wall
or on the ground in front of me as I walk or sometimes following behind.
An almost perfect formless form, inseparable from the form it echoes.
When everything is off the walls and installations dismembered there are paintings and materials piled up in the corners and hallways waiting to find storage space. But what is most surprising and exciting is seeing the bare space again. Windows that have been covered are now opened up. A plant came upstairs from the studio and set a whole series of changes in motion. It all happened so fast, so fluidly. It is a space that we have never been in before. Collage sculptures have materialized almost magically. It is an experiment and a discovery, seeing materials that are in the gallery and finding ways of bringing them together in a new and dynamic relationship. It seems that it is all about balance, 'a tenuous balance'. A sensation and a reality that each of us lives with.
what can be seen as a point of weakness...
... becomes a point of beauty
What can you put in a bottle?
colour, texture, light
and the memory of the gesture that placed them
on a windowsill in the studio
where sometimes they are seen
and sometimes not.
The lights have come down on the
C I R C U S and 'the barefoot Contessa',
the visitor we were holding out for, Eron's daughter Maya, came today from Montreal and took in the show. So, unless we have a few more stragglers that make it in in the next day or so they will be met by a pristine empty space waiting to inspire whatever is coming next.
The C I R C U S show ended on Saturday and by all rights I should have taken it down already
but it is always hard to take down a show.
I am aware that this exact and particular configuration will never happen again.
I think of those who did not get to see it and I want to hold on to one more day of possibility.
It is a challenge to hold loosely to those people or things that we love.
What follows is always an unknown.
Today it is potatoes and the surprise of reading the words below written on a sidewalk I stepped upon.
In the words of Sting
If you love somebody
If you love someone, set them free.
Perhaps it is the holding too tightly which can kill us.
These are two collages, the one on the left is by Eron Boyd and the one on the right is by deborah harris. They were made at the same time in different rooms of the studio, each was using a duplicate copy of the same image (unbeknownst to them). Eron kept only the body and deborah kept only the head. The resulting images are uncanny self portraits of their posture and attitude while making visual sound poetry together. They use this image as an end page on many of the videos to represent their collaboration: E B O H A
E B O H A has made over 120 visual sound poetry videos which you can see on:
This is Ed Drass. He is the person that you will most likely meet when you enter the gallery. He is a skilled multi-tasker, and can eat breakfast, update the computer and greet guests almost simultaneously. He will be happy to describe the five galleries to you and take you on a tour.
In quiet moments he
Eron Boyd is the basement troll. He is
an avid book collector,
green thumb gardener,
and the better half of
visual sound poetry video productions,
(with myself dh)
He has also become a
collage artist showing work in the Collage Gallery.
We had a conversation today
about living and dying
about life and death
about those forty-nine
that we do not know
and others that we do
this conversation was full of questions
and no answers
trying to look at what is close
and what is far away
what is it that we can touch
And then reflected light
from the windshields of the cars outside
through the window
of the upside down acrobat
and moved him like one leaving
across the wall.
Sedna is a voice
with every fiber upwards
away from weight
Sedna is a stone sculpture by Inuit artist Floyd Kuptana and is part of the gallery's permanent collection.
What am I looking at?
Miniature cutout figures are placed within a photographic Midway installation
transforming it into a magical and expansive world.
This a part of a photographic installation 'Along for the Ride',
a feature of the exhibition C I R C U S at Gallery Arcturus
showing til June 18 2016.
The Midway photos are by Simeon Posen and the installation is by deborah harris.
The above photos are taken by Sae Kimura.