Page 91 - The Venice Biennale 2001 issue of World of Art Magazine

RevieW Of exhibiTiOns

canadian Society of Painters in Watercolour. Her and the interaction with other layers of pigment. THE SHAMANIC EXPERIENCE
works of art can be found in private, corporate, on the contrary, the subdued tonality of the JAne Ash pOiTRAs
and public collections in north America and picture approaches monochrome in order miRA gODARD gALLeRy
abroad. This is the artist’s second solo exhibition to leave the design incomplete. At the same TOROnTO
at gallery one, Toronto. moment, the result is a surface so alive “Our constitution does not
“A good traveller has no fixed plans and is not and vivacious. copy the laws of neighbouring
intent on arriving.” Lao Tzu, 570-490 BC The dramatis personae of Untitled is Nations. We are rather a
reminiscent of the paradisiacal imagery of pattern to others than imitators
ourselves.”
franz Marc’s fighting forms. In a comparative
LANDSCAPE AND STILL LIFE analysis, both works of art depict a dense Elders #5 (2000)
pAT seRvice network of broken lines, rough textures, angular Artist Jane Ash Poitras utilizes
her eminent, articulate
gALLeRy One forms, and rapid brushstrokes that are charged
TOROnTO with emotion. Then again, the striking palette representational style as WEAVIng drEAMS*
MIxEd MEdIA on cAnVAS
consecrating herself of Marc is dissimilar to the solemn quality that a conduit for delving into 36 x 24”
with incorporeal milieu Tom Hodgson utilizes. Albeit, the hypersensitive the reconstruction process 1999
of the firmament, light, features of Untitled assume a witness to the of identity, traditional cree
atmosphere, and colour, truth, a visionary, and the reality of inner iconography, text, and personal history in order
Pat Service articulates a experiences. to confabulate upon the question of social
whisper of sentimentality for A founding member of the Painters Eleven adaptation pertaining to the nations.
the natural landscape. Bolder, (1950’s) and veteran of abstractism, Tom collage, painterly gestures, newspaper
broader, and compelling Hodgson composed paintings into the mid-1990s. photographs linked to the cree, Blackfoot,
the brushstrokes can be MIrrorEd This exhibition incorporates his works on and navajo communicates directly to the
AcrYlIc And oIl north American Indians.
equated to romantic artist 34 x 34” paper and canvas from the mid-1980s through
Joseph Mallard William 2000 to the mid-1990s. Poitras’ paintings can be equated to the
Turner, whose renowned legendary grecian loom of destiny. Safeguarded
landscape compositions are solely based by the Three fates, the weaving machine
upon substantiality and aim at unrestrained ROAD, WALL, AND DOOR intertwined each thread with the life of a mortal.
effects. Even though Buoyed lake(Service) sARinDAR DhALiWAL In comparison, the artist has descried this
and landscape With distant river And Bay eDWARD DAy gALLeRy antique component by employing the collage
(Turner) are disparate in design; nevertheless the TOROnTO technique to her lyrical vision.
unrestrained, interminable brushwork is obvious. dynamic hues and cultural Each image and object is systematically
Both painters intonate a quixotic glimpse into references to the East abound compiled like a finely woven carpet spun
the realm of landscape genre. in this exhibition in which from the loom. culture, mythology, language,
Pat Service studied at the glasgow School multimedia artist Sarindar family, spirituality, and at intervals, the future
of Art (Scotland) and is a graduate of the dhaliwal takes the spectator springs forth from the canvas.
University of British columbia. Service has upon an exotic journey Indeed, Jane Ash Poitras through her
attended the Emma lake Artist’s Workshops. through traditional and experience and sagaciousness has achieved
Since 1972, Pat has resided and worked contemporary India. Walls, the manifestation of a fiery passion for
in Vancouver. streets, textures, and fabric are her heritage.
Her paintings can be found in private and the fragmented recollections SArdInAr dHAlIWAl Born in fort chipewyan, Alberta, the artist has
corporate collections throughout canada, of dhaliwal at the age of IndIAn BIllBoArd obtained a Bachelor degree in Microbiology,
50” x 50”
United States, Europe, and Asia. 2001 BfA Printmaking (University of Alberta) and
three, before her relocation a MfA in Printmaking (columbia University,
to london, England created new York city). Her works of art has been
through large-scale prints, prints on Thailand displayed within canada, the United States,
TOm hODgsOn Birdnest paper, hand-coloured prints, and a and abroad.
chRisTOpheR cuTTs gALLeRy site-specific installation. Jane Ash Poitras’ paintings can be found
TOROnTO
Sardinar graduated from the falmouth School in numerous public, corporate, and private
lyrical and interpenetrating
of Art (cornwall, England) with a Bachelor of collections in north America, the Brooklyn
crystalline forms appearing
fine Arts Honours degree. In 1990. dhaliwal Museum, columbia University, national
as jagged pieces of stained
displayed her works at the Edmonton Art gallery of canada, national gallery of
glass dash across the
gallery, or gallery (Vancouver, British columbia). ottawa, canadian Museum of civilization,
energetic canvases and
and The Art gallery of Peterborough. Her solo Vancouver Art gallery, Art gallery of ontario
works on paper created by
exhibition, The castle of disparity situated at (Toronto), and the McMichael canadian
Tom Hodgson. Every stroke
the Woman’s Art resource centre (Toronto) in Art collections.
evokes the cataclysmic
BUrnT orAngE, 1989 1996 won the artist critical acclaim, including
forces that overwhelm the AcrYlIc on cAnVAS the installation Hey, Hey Paula, a dual exhibition
sphere of abstraction. 67” x 80 1”
at the koffler gallery (Toronto).
The transcription of Burnt
dhaliwal’s works of art reside in the Walter
orange can be unraveled as maintaining
Philips gallery (Alberta) and the Agnes Etherington
the actual shapes visible within the internal
Art centre (kingston, ontario).
dynamics of his material and process: the
TAmARA pAsZTOR IS A
speed, direction of it’s impact upon the canvas, frEElAncE crITIc BASEd In ToronTo
WORLD of ART 89