Montreal - Art

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

Original multicolored horizontal painting on tones of blue, green, dark red, orange, yellow and purple. This is a bold colorful abstract painting, created with energetic brushstroke...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

Paul Soulikias, Canadian, b 1926 Winter landscape, Quebec. 1969 Oil on canvas 16 x 20 in 41 x 51 cm Signed and dated 1969 lower right Framed For our US customers: 1) The artwork is ...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

Armand Tatossian, Canadian, 1948-2012 Promenade Oil on canvas 20 x 16 in 50,8 x 40,6 cm Signed on the lower right: A. Tatossian Signed, titled verso framed For our US customers: 1...

Ralph Burton, Canadian, 1905-1983 Rippon, Quebec, 1959 Oil on board 10 1/2 x 13 in 26.7 x 34.3 cm signed lower left; signed, titled and dated ’59 verso framed For our US customers:...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Coming out of Sonny Assu's artist residency at the Institute of American Indian Arts, they have created a new body of work called the Santa Fe series. The artwork is filled with flui...

Bruno Côté, Canadian, 1940-2010 Saint-Achillée, Quebec, 1979 Oil on masonite 16 x 20 in (image) Signed and dated ’79 lower left; Signed and titled verso PROVENANCE: Art & Style galle...

Bruno Côté, Canadian, 1940-2010 Quebec landscape, 1987 Oil on masonite 20 x 24 in Signed and dated lower right; Signed and titled verso framed For our US customers: 1) The artwork ...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

Ralph Burton, Canadian, 1905-1983 Late Autumn, 1967 Oil on board 10 x 13 in Signed lower right Signed, dated and titled verso framed For our US customers...

Karine Payette was born in 1983 in Montreal, Quebec, where she lives and works. Working primarily with sculpture and installation, she reproduces, for the most part, environments tha...

Oli Sorenson’s solo exhibition, «Après moi, le déluge » discloses a series of impactful works on the deadly perils of capitalism through a group of paintings, prints, watercolours, a...

In a series of portraits documenting the body in nature, Isaac’s model dons a fantastical mask — one side overgrown with fledgling greenery while the other half conjures a ghost of t...

David Blackwood, Canadian, 1941-2022 THE SEABIRD HUNTER, 1978 Etching 19 3/4 x 31 1/2 in 50 x 80 cm Signed lower right framed

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

Armand Tatossian, Canadian, 1948-2012 Oil on canvas 30 x 40 in Signed on the lower left Signed on the reverse framed (float mount) For our US customers: 1) The artwork is shipped...

When creating his artworks, Éric Lamontagne begins by painting a landscape scene, often with a body of water or cliffs. He then carefully cuts, folds, rips, and slashes the canvas bo...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

Bevan Ramsay completed his graduate degree in sculpture nearly a decade ago, but it's only now that he feels he has truly graduated from his MFA. This liberating feeling comes with a...

The first decades of the 21st century shaped the period of reconfiguration of the "world order", according to Pedro Pablo Gómez1, into three options: "rewesternalization, dewesternal...

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

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...

Toronto artist Sophie DeFrancesca has always been fascinated by vintage fashion. Pictures of her mother wearing gorgeous frocks from the 40’s, 50’s and 60’s served as a connection to...

Titled after an episode of Star Trek, The Paradise Syndrome features new work by Sonny Assu. Combining Indigenous content with appropriated images and text from marine chart...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Born in Turks and Caicos, Bradley Theodore is a contemporary artist who started his career in New York City and has been an internationally-inclined artist and collaborator from his ...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien who have been inspired by the explorers of the past. Like them, she draws, in part, on the singular tradition of polar exploration narratives as well as fictions such as Ursula Le Guin’s “Sur” (1981), a utopian feminist hoax in which a party of South American women reach the South Pole in 1909, two years before the official arrival of European explorers. Le Guin’s explorers do not feel compelled to leave any written record or physical proof of their presence at the South Pole. If Le Guin’s women might have made it, what other traces have been missed? Collage can work alongside alternative history: it interprets, interrupts, and rearranges. It questions the completed whole, instead emphasizing composition and relation. Collage suggests it all might be … otherwise. Houston’s collages flaunt their second nature. Yet what they show remains somehow plausible. You want to believe what you’re beginning to see. In “A life Attuned to Larger Rhythms” Houston grids out rectangles of captured images to overwhelm the eye as the polar environment itself might (whiteout is a paradoxical species of optical overstimulation). Through the strangely ordered confusion of an ice survey grafted atop a chessboard, the mind begins to recognize new connections, emergent shapes: a different future? In “Launching Strategy” a yellow-orange pyramid balances garishly atop a tent. Which came first, the realist tent or the Platonic shape? Can we ever be sure that we’re not already seeing through premade abstractions? Or is it that baggage we’ve been dragging along? In “Architecture of the Anthropocene” and “Red Blood, Red Earth” Houston reroutes visually symbolic through-lines between women and non-European people and the official history in which they appear dimly or not at all. A full-skirted woman holds onto the tether of a kite that seems to pull her upwards towards a weather balloon floating above an Antarctic base’s radio tower; a row of tropical workers wielding pickaxes folds into the trajectory of a sailor aiming a bow and arrow at an iceberg stained with red. These are not people or images normally associated with polar discovery. But shouldn’t they matter? “Territory Over Land” strips in a scene from a painted depiction of the tropics, possibly from one of Captain James Cook’s circumnavigations. “Captain Cook’s Legacy” more directly confronts an official portrait of Cook with the torn-in eyes from what can only be described as the explorer’s anonymous dark Other. The hybrid portrait is a kind of contact zone. “Henson and Peary – Past Entanglements” is a cooler, less volatile twin portrait of disputed discoverer of the North Pole Robert Peary...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...

Through photography, Michel Piquette creates captures of time, animated by a paradoxical quest for an image preceding any technique. By weaving together aspects of geometry and abstr...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

To trip and retrip on a piece of land, a surface, a support that sets up not a bounce but a billow, a soft surge, a reverberation where the ground is friendly, known, familiar and th...

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...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

Paul Soulikias, Canadian, b 1926 Prevost, Quebec. 1986 Oil on canvas 18 x 24 in (size unframed) signed and dated on lower right P. Soulikias 1986 Framed

Toronto artist Sophie DeFrancesca has always been fascinated by vintage fashion. Pictures of her mother wearing gorgeous frocks from the 40’s, 50’s and 60’s served as a connection to...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

Portrait is a result of transformations in Judith Berry’s painting practice from singular landscapes into abstracted forms, still lives, and now, into human and animal life. These lu...

Peter Anton’s (b. 1963, New Haven, Connecticut) primary subject matter is food with an emphasis on chocolates and other sweets. Anton creates giant realistic sculptures and is best k...

The sculpture Cranium (2020) is an exploration of consciousness in isolation. It re-imagines the human skull as an ever-expanding container, complete with its own internalized logic...

Umberto Bruni, Canadian, 1914-2021 Dans Les Laurentides Oil on canvas 10 x 12 in Signed lower right; Titled, signed verso framed

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

"I am an experimental painter. I have been working on my craft since 1996. I start work with a conceptual point of entry and then work intuitively, in dialogue with the work. The art...

Marcel Fecteau, Canadian, b. 1927 "Quebec Landscape" Oil on canvas 14 x 18 in (picture) Signed lower right; framed For our US customers: 1) The artwork is shipped from Montreal, Can...

Robert Genn, 1936-2014, Canadian Oil on canvas laid down on board 8 x 10 in signed lower right signed, titled and dated on verso framed For our US customers: 1) The artwork is shipp...

Armand Tatossian, Canadian, 1948-2012 Oil on canvas 12 x 10 in Signed on the lower left Signed and titled on the reverse framed For our US customers: 1) The artwork is shipped fr...

Toronto artist Sophie DeFrancesca has always been fascinated by vintage fashion. Pictures of her mother wearing gorgeous frocks from the 40’s, 50’s and 60’s served as a connection to...