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Tilleul 03 Abstract Oil Painting on Canvas, 2010s, Excellent Condition
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Tilleul 02 Abstract Oil Painting on Canvas, 2010s, Unframed, 48x36
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Tilleul 01 Abstract Oil Painting on Canvas, 2010s, Excellent Condition
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Œillet 02 Abstract Oil Painting on Canvas, 2010s, Excellent Condition
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Œillet 03 Abstract Oil Painting on Canvas, 2010s, Unframed, Large Size
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Œillet 04 Diptych, Abstract Oil Painting on Canvas, 2010- Present
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Buisson Abstract Painting, Oil on Canvas, 2010s, Unframed, Large
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Colza Triptych Abstract Oil Painting on Canvas, 2010s, Unframed
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Œillet 02 Abstract Oil Painting on Canvas, 2010s, Unframed, 30x40"
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Buisson 02 Abstract Oil Painting on Canvas, 2010s, Unframed, 30x40
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Lys 03 Abstract Oil Painting on Canvas, 2010s, Unframed, 48x48
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Untitled Abstract Painting, Oil on Canvas, 2010s, Unframed, 24x20
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Untitled Abstract Painting, Oil on Canvas, 2010s, Unframed, 24x20
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Untitled Abstract Painting, Oil on Canvas, 2010s, Unframed, 24x20
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Laurier 03 Abstract Oil Painting on Canvas, 2010s, Excellent Condition
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Herbes Abstract Oil Painting on Canvas, 2010s, Excellent Condition
By Hédy Gobaa
Located in Montreal, Quebec
Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...
Category
2010s Abstract Abstract Paintings
Materials
Canvas, Oil
Doubt, Contemporary Abstract Painting, Oil on Canvas, 21st Century
By Judith Berry
Located in Montreal, Quebec
At first glance the subjects of Judith Berry’s paintings appear to be monumental forms such as prairies, forests and mountains. Upon closer inspection they could be smaller, more man...
Category
21st Century and Contemporary Contemporary Abstract Paintings
Materials
Canvas, Oil
Leak Oil Painting on Canvas, Aerial Landscape, 21st Century, Unframed
By Judith Berry
Located in Montreal, Quebec
Judith Berry’s paintings impart that simultaneous sense of belonging, uncanny familiarity and uneasy otherworldliness common in science-fiction geographies. You are left with the fee...
Category
21st Century and Contemporary Paintings
Materials
Oil, Canvas
Erase, Abstract Oil Painting on Wood Panel, 21st Century, Unframed
By Judith Berry
Located in Montreal, Quebec
Judith Berry’s paintings impart that simultaneous sense of belonging, uncanny familiarity and uneasy otherworldliness common in science-fiction geographies. You are left with the fee...
Category
21st Century and Contemporary Abstract Paintings
Materials
Wood Panel, Oil
Large Discs and Sticks, Abstract Oil Painting on Canvas, 21st Century
By Judith Berry
Located in Montreal, Quebec
Judith Berry’s paintings impart that simultaneous sense of belonging, uncanny familiarity and uneasy otherworldliness common in science-fiction geographies. You are left with the fee...
Category
21st Century and Contemporary Abstract Paintings
Materials
Oil, Canvas
Maquette Pour L’Hôpital Ste-Justine, Abstract Gouache on Paper, 2010+
By Judith Berry
Located in Montreal, Quebec
Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio ...
Category
2010s Abstract Abstract Paintings
Materials
Paper, Gouache
Maquette Pour L’Hôpital Ste-Justine, Abstract Gouache on Paper, 2010+
By Judith Berry
Located in Montreal, Quebec
Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio ...
Category
2010s Abstract Abstract Paintings
Materials
Paper, Gouache
Maquette Pour L’Hôpital Ste-Justine, Abstract Gouache on Paper, 2010+
By Judith Berry
Located in Montreal, Quebec
Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio ...
Category
2010s Abstract Abstract Paintings
Materials
Paper, Gouache
Moth Excursion: Abstract Oil Painting on Wood Panel, Unframed
By Judith Berry
Located in Montreal, Quebec
Worlds Unseen
Natasha Chaykowski
It’s strange to look at a high definition photograph of red blood cells. They appear otherworldly and supple, formal and punctuated: so different...
Category
21st Century and Contemporary Abstract Abstract Paintings
Materials
Oil, Wood Panel
Expectations in the New City, Contemporary Oil on Canvas, 21st Century
By Judith Berry
Located in Montreal, Quebec
At first glance the subjects of Judith Berry’s paintings appear to be monumental forms such as prairies, forests and mountains. Upon closer inspection they could be smaller, more man...
Category
21st Century and Contemporary Contemporary Abstract Paintings
Materials
Canvas, Oil
The Other Side of The Sky, Abstract Oil Painting on Wood Panel, 2010+
By Adam Gunn
Located in Montreal, Quebec
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” – Immanuel Kant
A recent online story in the German news outlet Deustche Welle post...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Star Gazing Through the Wrong End of the Telescope
By Adam Gunn
Located in Montreal, Quebec
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” – Immanuel Kant
A recent online story in the German news outlet Deustche Welle post...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
All, Always, Forever, Never - Abstract Oil Painting on Wood Panel
By Adam Gunn
Located in Montreal, Quebec
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” – Immanuel Kant
A recent online story in the German news outlet Deustche Welle post...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
The Twisted Tongue: Abstract Oil Painting on Wood Panel, 2010+
By Adam Gunn
Located in Montreal, Quebec
Messages in a Bottle
Text by Cameron Skene
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant
A recent online story i...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Kicking Things Up, Abstract Oil Painting on Wood Panel, 2010-2023
By Adam Gunn
Located in Montreal, Quebec
Messages in a Bottle
Text by Cameron Skene
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant
A recent online story i...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Deep Down Abstract Painting, Oil on Wood Panel, 2010s, Unframed
By Adam Gunn
Located in Montreal, Quebec
My painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from ...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Exquisite Resting Place, Abstract Oil Painting on Wood Panel, 2010+
By Adam Gunn
Located in Montreal, Quebec
y painting practice began with subverting the idea of a still life to create an absurd experience where the presence of carefully observed and exaggerated absurd forms painted from l...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Sometimes I Forget What I Am, Abstract Mixed Media Painting, 2010-
By Adam Gunn
Located in Montreal, Quebec
I am primarily a painter of things and my practice has grown out of a process of subverting the genre of still life. For my most recent paintings I have been working in an improvisat...
Category
2010s Abstract Abstract Paintings
Materials
Mixed Media, Oil, Wood Panel
One Damn Thing After Another, Abstract Oil Painting on Wood Panel
By Adam Gunn
Located in Montreal, Quebec
Messages in a Bottle
Text by Cameron Skene
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant
A recent online story i...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
In the Remote Parts, Abstract Oil Painting on Wood Panel, 2010-
By Adam Gunn
Located in Montreal, Quebec
Messages in a Bottle
Text by Cameron Skene
“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant
A recent online story i...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
La Belle Époque Painting: Contemporary Acrylic
Oil on Canvas
By Eric Lamontagne
Located in Montreal, Quebec
Interaction with one of Lamontagne’s works is, simply put, a surreal experience. By using one of several points of entrance, viewers are permitted to experience multiple views of com...
Category
2010s Contemporary Abstract Paintings
Materials
Canvas, Acrylic, Oil
Beneath the Night, Abstract Oil Painting on Wood Panel, 2010s
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception.
Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated.
The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Where These Ways Crossed, Abstract Oil on Wood Panel, 2010+
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception.
Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated.
The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Our Own Faults, Our Own Failures, Abstract Oil Painting on Wood Panel
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
It’s So Quiet You Can Hear Them Breathing, Abstract Oil on Wood
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception.
Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated.
The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Strangely Prescient Abstract Painting, Oil on Wood Panel, 2010s
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Beyond Recall: Abstract Oil Painting on Wood Panel, 20x20 Inches
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Leave It Be, Abstract Oil Painting on Wood Panel, 20x20 Inches, 2010+
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception.
Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated.
The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Where These Ways Crossed: Abstract Oil Painting on Wood Panel, 2010
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception.
Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated.
The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Scorch Abstract Painting, Oil on Wood Panel, Contemporary, Unframed
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
Break, Abstract Oil Painting on Wood Panel, Contemporary, Unframed
By Jessica Houston
Located in Montreal, Quebec
Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else?
Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north.
An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made.
Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent.
Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...
Category
2010s Abstract Abstract Paintings
Materials
Oil, Wood Panel
