Sunday, 18 December 2016


"Just Imagine" series 2016 
Just imagine a construction zone where nature is built in instead of torn out. This new series of work is inspired by buildings under construction in Toronto and New York. The structures are juxtaposed with waterfalls and mountain ranges from Iceland, California and Colorado.

My paintings are intended to portray urban life at its best, demonstrating ways that we can work with nature rather than against it. I envision post-industrial worlds where sustainable relationships exist between man and the environment. By exploring the continually evolving approaches to preserving our environment and living more efficiently, I suggest how we can implement innovative solutions for city planning and development with minimal impact on surrounding habitats.  

This synthesis of ideas is manifested in how I paint. As in real life construction, the architectural aspects of my work are calculated, measured and controlled in order to assure precise locations of each line. As in nature, the environmental elements are more spontaneous, unpredictable and liquid. Using squeeze bottles filled with liquid paint I build each piece from the ground up with hundreds of lines and/or dots. After years of experimenting with gravity and rotating my canvas, I am able to manipulate where and how each drip will fall. - Amy Shackleton

Saturday, 3 September 2016

"NEW WORKS" BY KAREN COLANGELO Available for viewing and purchase NOVEMBER 2016

SURVIVAL: [ser-vahy-vuh l].  state or fact of continuing to live or exist, typically in spite of an accident, ordeal, or difficult circumstances. A natural process resulting in the evolution of structure.
The Persistent Halt
The Emerged Disappearance
Karen has always had a constant desire to create bold works that stray from conventional application methods. At a young age she used small paint brushes to apply the paint to the canvas. Over her teenage years she changed to larger brushes, palette knives or other found objects around the studio like a CD jewel case. The colours followed increasingly becoming stronger and more vibrant.
Karen’s painting style is abstract; her medium is acrylic paint on canvas. She paints the concept of Contradiction. Karen has always been attracted to bringing opposite colour combinations together and thus what would typically be an opposite is now its complement. She uses large brushes and the opposite of brushes - sheets of plexi-glass to apply her paint to her large canvases.
Her work illustrates the dance or fight of colour. She drags acrylic paint across the canvas creating interesting shapes, impact, movement, and curiosity - ultimately creating a work of art that is in its purist form.
The Horizontal Vertical
KAREN COLANGELO Takes the Concept of Contradiction into Survival Mode.
Karen’s recent work represents the theme of Contradiction illustrating opposing colours and application methods. Her work conveys either a fight or dance of colour. The final decision is left up to the viewer. It is a comment on challenges that individuals are faced with daily.
Karen tells us how the paint ‘survives’ during the painting process;
“In its purist form the paint leaves the tube and lands directly onto the painting tool. The paint is then dragged along the canvas. It has a purpose to survive by creating engaging shapes, impact, movement, and curiosity. It is happy and carefree. The paint is confident and vibrant in its appearance yet bold in its behaviour, but there are circumstances that the colours are faced with.
The colour needs to develop a controlled behaviour on the canvas surface. The colour battles with limits, patience and ultimately survival.   The paint soon realizes that its limits are being pushed, literally. As it travels and glides across the canvas, the edge is near and fast approaching.   It is decision time. It must decide to jump to the next canvas and remain in the spotlight, or it clings to the painting tool and allows its creator to decide its fate. If it falls off the canvas edge, it will try its best to leave its mark. It becomes a struggle between creator and survivor.
It is no accident when the paint decides to fall off the edge of the canvas. It intentionally marks every surface trailing its journey. The paint wants to survive and win the battle of its difficult circumstance. It decides to leave its mark by creating an eye-catching and engaging edge detail.” ~KC 

Karen extends her concept globally. “This series of work also comments on society and individuals as a whole. We all have a survival mode we all switch on when faced with challenges and life changing decisions. This mode allows us to dance or to fight our way through our battles.   We are always faced with taking a leap and jumping into something new or challenging. It is these decisions in life that need a bold, confident, and happy individual to take those chances and create positive impressions in the world, contradicting the norm.” ~KC


Artist James Maxwell works primarily in metal. He uses the techniques of industry, such as welding and machining, to create objects. His subject matter often employs the iconography of machinery and the objects they create. He is interest in form, and how ideas, once realized in three dimensions, transform. Materials, scale and surface become agents of change. By removing an object from its context, reconfiguring its composition and scale, Maxwell allows it to be something other than it was. In a sense, he is enabling us to reconfiguring ourselves.

"The use of systems is important to the work I do, both in the creation of objects and the development of ideas. Operations have orders. Yet the system does not always determine the final piece. Nor is it always employed. I am not a hostage to the orthodoxy of the original concept. Often the idea changes as the piece percolates over time and new ideas bubble up. Older ideas that keep returning are given their due and are executed. New ones sometimes jump the line." - James Maxwell

Monday, 4 July 2016



features new artwork by

Jacqueline Veltri exhibiting until July 31, 2016 

Cindy Dyson and Scott Kish exhibiting until July 16, 2016 

This artwork is for sale.


This time and space series is about the way we use time. This series is dedicated to my mom who taught me that we can choose to use our time to be happy and fulfilled. I used the compasses to represent the space we occupy, and that we choose the direction we take in life. Ultimately time doesn't control us because we choose how we spend our time. I illustrate this by changing the scale of the compasses and making them much larger than the time pieces. - Jacqueline Veltri


My fascination with everyday street scenes reflects my hope and struggle to believe that the most beautiful moments in life are not always as expected. Perhaps these precious times are all at once – mundane and frenzied, fragile and strong, peaceful and painful, sunny and dark.
I work with acrylic paint and palette knives.  I find that the endlessness to the variety of mark I can make with these tools challenges and fascinates me.  I love the physicality and range of the knife – aggressive slices, delicate dabs, focused scrapes and thick bold swaths of colour.  The paint is so flexible – I can spray, splatter, blob and pour it. These qualities enable me to express a wide range of emotion in each piece.
I am greatly influenced by the European Impressionists. Their sensitive offerings physically and emotionally connect me to their 19th century world. My application of paint does not result in realistic representation.   Rather, I am satisfied with a rough familiarity and mood of subject.  My goal is to present an intriguing balance of roughness and tenderness; boldness and vulnerability, representation and expression. Cindy Dyson 


Scott Kish paints "motion" in all its variable forms. The four paintings curated by Elaine Fleck for this exhibition are, large in scale 40 x 70 inches, life size forms of runway models painted with oils on aluminum providing the viewer immediate context turning a static artwork into stylized motion.

In early 2016, Scott received word that his motion  paintings were the inspiration behind New York fashion designer Vivienne Hu's Fall 2016 collection. After viewing the collection at the runway show at NYFW, he was inspired to depict this collection in a series of paintings.

Friday, 17 June 2016

New Paintings by Amy Shackleton and Mark Liam Smith

We are very excited to have brand new work by Amy Shackleton and Mark Liam Smith on display and for sale this June.

Shackleton's paintings explore the evolving relationship between nature and cities. Using natural forms as examples for sustainable design, she suggests innovative solutions for urban planning and development. Amy Shackleton's paintings are highly sought after, and sell fast. Don't miss this opportunity to see her newest work in person.

Recover (New York and Vancouver) -SOLD
Acrylic and Enamel on Canvas, 35 x 50 inches, 2016 

Season Finale (New York and Vancouver) -SOLD
Acrylic and Enamel on Canvas, 35 x 50 inches, 2016 

Renewal (New York and Vancouver) -SOLD
Acrylic and enamel on canvas, 35 x 50 inches, 2016 

Mark Liam Smith's paintings are visual works of fiction: he creates a narrative using shape, colour, and characters, carefully considering the chromatic and spatial relationships in his paintings to achieve movement and balance. Mark Liam Smith is an emerging artists recently discovered by the Elaine Fleck Gallery. He is extremely prolific and is gaining momentum quickly. Smith will also be showing at SCOPE BASEL 2016 from June 14-19 in Basel, Switzerland.
oil and acrylic on canvas, 48 x 36 inches, 2016

Flowers for Fibonacci
oil and acrylic on canvas, 48 x 36 inches, 2016

Game Theory 
oil and acrylic on canvas, 48 x 60 inches, 2016

Thursday, 28 April 2016




Once an artist has produced a body of work, the promotion and marketing of the artist and their work is a huge determining factor in their success and advancement. The Fleck Fine Art Catalogues and Group Shows are invaluable promotional venues for artists.
The Fleck Fine Art Catalogue is published twice a year. The spring/summer 2016 issue marks our 14th publication.
“The catalogue is a group activity, we all promote together to potential art buyers.” Elaine Fleck, Gallery Owner, Curator, Art Dealer
Elaine Fleck has a reputation for her discerning eye, great taste and a passion for representing artists who are innovators and create works that resonate with the public.
Come to the Elaine Fleck Gallery this May... get stimulated, get inspired! 


LATOMICITE PROFONDE DU PONT archival print 33”x48” 2016

BRAIN MECHANICS acrylic and Ink on wood panel 24”x36” 2016

PEONY PASSION  oil on canvas  60” x 75”  2016 

Sunday, 13 March 2016


My name is Sheinina Lolita Raj, a person who was born from distinctively diverse ancestors, culturally, religiously, linguistically and physically.

Racially speaking I am half Indian and half English. I do however consider myself Canadian. Believing in the promised land of Canada my parents immigrated to Vancouver when I was five years old. Hopeful that I would enjoy a peaceful life free of prejudices we said farewell to loved ones for good. Although, the truth is you cannot run from racism. I can remember tearfully expressing to my father how I did not want to be brown as children would tease. While I have grown to appreciate the tonality of my skin, in this era of cultural assimilation my identity continues to be misunderstood.

As a person of ethnic descent living in the multicultural metropolis of Los Angeles for more than a decade, I’ve become keenly aware of racial prejudices. Mankind has evolved to visually interpret their environment, a survival instinct ensures individuals are categorized.

When the colour of my skin presents an unfamiliar reference, inevitably a barrier of discriminative notions are formed. In honour of cultural diversity, “Intercultural” reflects just how different yet the same we are. Adorned in the worldly traditional regalia of Armenia, Egypt, Greece, Guatemala, Hawaii, India, Jordan, Mexico, Native America, North America, Pakistan, Portugal, Saudi-Arabia, Spain, and Turkey, this collection of self-portraits unifies authentic heritages. As cultures around the world collide this art could not come at a more precarious time. Raising awareness to the misinterpretation of the nationalities living in our modern day societies, “Intercultural” enlightens ideologies while initiating a common respect for all humanity and ultimately a peaceful coexistence.

Tuesday, 23 February 2016


March 2016 The Elaine Fleck Gallery presents work by renowned American artist Kathy Kissik and introduces the work of David Fredrik.

Kathy Kissik is a Miami-based artist known for her fusion of contemporary and historical photography with found objects. Kissik earned her BFA degrees from the School of the Museum of Fine Arts, Boston, MA and Tufts University where she was a fifth year Travelling Scholar recipient, then enrolled in a post-graduate program at the University of New South Wales.

Photography Based Mixed Media Collage by Kathy Kissik

Trained primarily in photography and welding, Kathy Kissik’s mixed media collages are often architectural. She photographs her subjects – with a traditional medium format camera and occasionally digitally – from slightly skewed perspectives, recording the shifting of light with the passage of time. Then Kissik builds out sculptural collages with contrasting textures and found objects for a multifaceted effect. Metals have an unspoken vocabulary in her practice that subtly transmit information to the viewer.

"My vision has always been to evoke how a place feels." -Kathy Kissik


David Fredrik's mixed-media works blend chaos and harmony, all while expressing different “stories from the streets”.

David’s extensive world travels inspire his focus on global subcultures. His paintings aim to reflect the beautifully imperfect surroundings of urban city life. A focus on dense layers and coarse deconstruction form his signature pieces. His background in Advertising, Graphic Design, and Typography heavily influence his compositional approach.

In 2014, David was named an "Artist to Invest in Now" by Saatchi Art. 

Thursday, 21 January 2016

The Elaine Fleck Gallery has moved to 1351 Queen Street West. Our last location of eight years, 888 Queen Street West, was a wonderful venue and location but frankly did not have enough space for us to grow any further in. Our new location consists of 1500 square feet of usable gallery, office and inventory space with a wonderful court yard in the back. We have moved literally 5 minutes away or 1.7 km west.

I want to warmly thank Bill Riopka, Mark Liam Smith, Inger whist and Juliette Vermeersch for their great contribution to the move and renovations, they are true friends to the gallery and the Elaine Fleck Gallery is enriched because of them.

After a month of moving, renovating and organizing we are now hanging our first show in our new gallery space featuring brand new work by Elaine Fleck Gallery represented artists Karen Colangelo and Lloyd Arbour.

I encourage everyone to come out to the gallery to view and purchase this exceptional artwork. As emerging artists quickly gaining a strong following the price point of their work is still a bargain.


My latest work is a Contradiction. I begin each piece with the primary colours. I allow these three contenders in the match to create a stage for mixing and matching. A dance that invites in secondary colours and eventually pushes out the final players…the tertiary colours.

I am going for the impact of colour as I lay complementary colours next to each other. As Monet once quoted in 1888, "colour makes its impact from contrasts rather than from its inherent qualities....the primary colours seem more brilliant when they are in contrast with their complementary colours” and eventually when placed next to each other, complements making each other appear brighter. This is the excitement I am trying to create for the viewer of my performance.

My painting technique uses the opposite of brushes. I putty up sheets of plexi-glass with an acrylic paint and drag the paint along the canvas surface creating my movement. As one colour dries I drag its opposite complementary colour across it. Working in this style I am creating layers of brilliant colours that grab your attention.

My goal is to create peace from Contradiction. Warm tones against cool tones. Dark colours against vibrant ones. Dry paint looking wet. All that contradiction turns into a beautiful visual harmony that is pleasing to the eye. I want the viewer to experience an inner sense of order and balance.

Lloyd Arbour

Arbour’s most recent work experiments with architecture, trains, maps, blueprints, photography and collage. Mediums play off, challenge, or complement one another. He creates unique urban designs that incorporate the new with the old to create imagery that is impactful. His recent work is a face lift to ordinary day to day elements of an urban city. His work allows the viewer to explore another perspective to the subdued or ordinary views of city life.

He uses advanced programs such as Adobe Photoshop and Adobe Illustrator and various techniques to construct his complex pieces of art.