Post-Mortem Survey for Making Art Work 2020-21
Thank you for participating in the Making Art Work professional development workshop series co-presented by Modern Fuel Artist-Run Centre, Union Gallery, and Agnes Etherington Art Centre. We are looking for feedback from participants of the program to inform future professional development programs. The survey should take no longer than 10 minutes to complete. Your answers will be anonymous. Thank you for your time!
Current Exhibitions
ON DISPLAY UNTIL JULY 20TH
bag/belly/box/house/
Joy Wong
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Window Gallery
May 18 to July 20
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bag/belly/box/house/ encompasses a body of work that uses fermentation as a methodology for Artist Joy Wong to explore the materiality of culture. Textile works created from kombucha, a fermented beverage made from sweetened tea that originated in Northern China, are situated within wooden structures and ceramic vessels and reflect ideas of nourishment and preservation, motherlands, and predicaments of care.
The In-Between
Laura Lewis​
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State of Flux Gallery
May 18 to July 20
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The In-Between is an immersive figurative painting exhibition featuring enigmatic renderings of Canadian 2SLGBTQIA+ artists. This show features four large-scale paintings from a larger body of work Lewis has spent the last two years creating. This work explores themes of psychosexuality, queerness, melancholy, identity, and community.
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The scale of this work is critical as it is important for queer people to occupy physical space in an institutional setting. All the people featured in this work are friends of the artist. Each individual carefully selected their personal fashion and accessories they wished to be depicted in as a form of artistic collaboration. The artists featured in this series are Jessie Jannuska (Jessie in Blue), Arjun Lal (Arjun with Butt Monster), Madeline Rae (Madeline in Oil), Christina Hajjar and her partner (Embrace).
The male gaze is often present in figurative painting, it is challenging to escape it. The individuals featured in this work confront the viewer with direct eye-contact as a form of acknowledgement, their presence is established. This is in direct defiance of the male gaze and empowers women and gender minorities. These paintings subvert the male gaze and pose the question of who is visible and who has the power to look.
