tag:blogger.com,1999:blog-3894473245231826492024-03-12T22:08:06.540-07:00Elaine Fleck GalleryArtists represented by the Elaine Fleck Gallery are selected for their unique contemporary themes, accomplished with innovative and masterful skill, producing artworks that captivates and resonates with art buyers.
Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.comBlogger47125tag:blogger.com,1999:blog-389447324523182649.post-87203180303793754582016-12-18T13:24:00.003-08:002016-12-18T13:29:01.909-08:00AMY SHACKLETON "JUST IMAGINE" DECEMBER 2016 SOLO EXHIBITION<div style="font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; line-height: 1.4; margin-bottom: 1em;">
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"Just Imagine" series 2016 </div>
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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.</div>
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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 minim<span class="text_exposed_show">al impact on surrounding habitats. </span></div>
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<span style="font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 15px;">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</span></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-4577374452701900222016-09-03T10:45:00.009-07:002016-11-04T13:04:08.411-07:00"NEW WORKS" BY KAREN COLANGELO Available for viewing and purchase NOVEMBER 2016<br />
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<em style="box-sizing: border-box;"><em style="box-sizing: border-box;">SURVIVAL: </em><span style="font-style: normal;">[ser-vahy-v</span><em style="box-sizing: border-box;">uh</em><span style="font-style: normal;"> l].</span><span style="font-style: normal;"> </span> 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 </em><em style="background-color: transparent; box-sizing: border-box;">structure.</em></div>
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<a href="https://cdn.shopify.com/s/files/1/1317/7209/products/filename_0_KarenColangelo_ThePersistantHalt_Diptych_80x60_AcrylicOnCanv_filename_1_as_2016_large.jpg?v=1475950379" imageanchor="1" style="background-color: transparent; margin-left: 1em; margin-right: 1em; text-align: center;"><img alt="The Persistent Halt" border="0" height="457" src="https://cdn.shopify.com/s/files/1/1317/7209/products/filename_0_KarenColangelo_ThePersistantHalt_Diptych_80x60_AcrylicOnCanv_filename_1_as_2016_large.jpg?v=1475950379" width="640" /></a></div>
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<strong style="box-sizing: border-box;">“SURVIVING THE CONTRADICTION”</strong></div>
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<strong style="box-sizing: border-box;">K</strong>aren 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.</div>
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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.</div>
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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.</div>
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<img alt="The Horizontal Vertical" data-image-id="21722209994" height="321" id="ProductPhotoImg" src="https://cdn.shopify.com/s/files/1/1317/7209/products/filename-0_KarenColangelo_TheHorizontalVertical_AcrylicOnCanvas_30x60_2_1024x1024.jpg?v=1476019068" width="640" /></div>
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<strong style="box-sizing: border-box;">KAREN COLANGELO Takes the Concept of Contradiction into Survival Mode.</strong></div>
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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.</div>
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Karen tells us how the paint ‘survives’ during the painting process;</div>
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<em style="box-sizing: border-box;">“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.</em></div>
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<em style="box-sizing: border-box;">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.</em></div>
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<em style="box-sizing: border-box;">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</em> </div>
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Karen extends her concept globally. <em style="box-sizing: border-box;">“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.”</em> <em style="box-sizing: border-box;">~KC</em></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com01351 Queen St W, Toronto, ON M6K 1M1, Canada43.6409842 -79.434638543.6409392 -79.4347175 43.6410292 -79.4345595tag:blogger.com,1999:blog-389447324523182649.post-9320172108942717622016-09-03T10:45:00.007-07:002016-09-04T06:08:11.909-07:00JAMES MAXWELL<div style="background-color: white; color: #3b3b3b; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px; margin-bottom: 1.2em;">
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.<br />
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<span style="background-color: white; color: #3b3b3b; font-family: "helvetica neue", helvetica, arial, sans-serif; font-size: 14px; line-height: 21px;">"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</span></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-33391196572237818752016-08-17T13:53:00.001-07:002016-08-17T13:53:50.633-07:00August 2016 Julian Poublanc Joy Kardish Lori Mirabelli <div class="separator" style="clear: both; text-align: center;">
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<br />gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-71663240088459597952016-07-04T11:12:00.001-07:002016-07-08T10:12:07.948-07:00JULY 2016 EXHIBITION: "SPACE TIME AND MOTION" AT THE ELAINE FLECK GALLERY<div style="box-sizing: border-box; margin-bottom: 10px; text-align: center; text-indent: 30px;">
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<h3>
<span lang="EN-US" style="font-family: "arial";">SPACE TIME AND MOTION </span></h3>
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<span lang="EN-US" style="font-family: "arial";">features new artwork by</span></h3>
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<span lang="EN-US" style="font-family: "arial";">Jacqueline Veltri exhibiting until July 31, 2016 </span></h3>
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<span lang="EN-US" style="font-family: "arial";">Cindy Dyson and Scott Kish </span><span style="font-family: arial;">exhibiting until July 16, 2016 </span></h3>
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<span style="font-family: "arial";">This artwork is for sale.</span></div>
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<i style="font-family: arial; text-align: left;">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.</i><span style="font-family: "arial"; text-align: left;"> </span><b style="font-family: arial; text-align: left;">- Jacqueline
Veltri </b></div>
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<h3>
<b style="background-color: white; line-height: 23.8px;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><a href="https://elainefleckgallery.com/collections/jacqueline-veltri">https://elainefleckgallery.com/collections/jacqueline-veltri</a></span></b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_01WRdpNADwDbKOAtFHN05C6-HV09n1PascsJZn5Zyo_jM4bO-yfwhyphenhypheneF3P6w3fr4Popbawpq8FqhB1ZTTa8u9lwMtR7fO3ETF5yrYB7c9V6UHK_Jff1bfATcG1yAai9Uf3fIbl9AE4/s1600/Rest-acrylic-on-canvas-36-x-30-inches-2016-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN_01WRdpNADwDbKOAtFHN05C6-HV09n1PascsJZn5Zyo_jM4bO-yfwhyphenhypheneF3P6w3fr4Popbawpq8FqhB1ZTTa8u9lwMtR7fO3ETF5yrYB7c9V6UHK_Jff1bfATcG1yAai9Uf3fIbl9AE4/s320/Rest-acrylic-on-canvas-36-x-30-inches-2016-2.jpg" width="266" /></a><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br />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.<o:p></o:p></i></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>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.<o:p></o:p></i></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><i>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.</i> <b>- </b></span><b>Cindy Dyson </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br /></b></span>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Scott Kish </b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>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.</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>
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.</i></span></span></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0Elaine Fleck Gallery 1351 Queen Street West Toronto, ON, Canada M6K 1M143.653226 -79.38318429999998243.285985499999995 -80.028631299999986 44.0204665 -78.737737299999978tag:blogger.com,1999:blog-389447324523182649.post-3620248074119498832016-06-17T10:38:00.000-07:002016-06-17T10:49:09.882-07:00New Paintings by Amy Shackleton and Mark Liam Smith<div style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-bottom: 6px;">
<h4>
<span style="font-weight: normal;">We are very excited to have brand new work by Amy Shackleton and Mark Liam Smith on display and for sale this June.</span></h4>
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<br /><b>Shackleton's </b><span style="font-weight: normal;">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.</span></h4>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-weight: normal;">Recover (New York and Vancouver) -SOLD</span></span></span><br />
<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-weight: normal;"><span style="background-color: white; line-height: 23.8px;">Acrylic and Enamel on Canvas, </span><span style="line-height: 23.8px;">35 x 50 inches, </span><span style="line-height: 23.8px;">2016</span></span><span style="line-height: 23.8px;"><span style="font-weight: normal;"> </span></span></span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Season Finale (New York and Vancouver) -SOLD</span></span></div>
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<span style="color: black;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; line-height: 23.8px;">Acrylic and Enamel on Canvas, </span><span style="line-height: 23.8px;">35 x 50 inches, </span><span style="line-height: 23.8px;">2016</span><span style="line-height: 23.8px;"> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ92NkDFgIbnIt1tZr4j5L0YMJFFLkzAwVwLQL0MVS8dzAuhmAHTX2gH3-0GtAQlVP1q2OsV654qCdb0XFBWh15iNDHwbBCT_2CrHi13gtkC2xzQcBeH7YpYj2p5cZDt9NE-0kn2ex53E/s1600/Renewal_Vancouver_NewYork-web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ92NkDFgIbnIt1tZr4j5L0YMJFFLkzAwVwLQL0MVS8dzAuhmAHTX2gH3-0GtAQlVP1q2OsV654qCdb0XFBWh15iNDHwbBCT_2CrHi13gtkC2xzQcBeH7YpYj2p5cZDt9NE-0kn2ex53E/s640/Renewal_Vancouver_NewYork-web.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Renewal (New York and Vancouver) </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 19.32px;">-SOLD</span><br />
<span style="color: black; font-family: "arial" , "helvetica" , sans-serif; line-height: normal;"><span style="line-height: 23.8px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Acrylic and enamel on canvas, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">35 x 50 inches, </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="line-height: 23.8px;">2016</span> </span></span></div>
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<span style="line-height: 19.32px;"><b>Mark Liam Smith's</b></span><span style="line-height: 19.32px;"><b> </b>paintin</span><span class="text_exposed_show" style="display: inline; line-height: 19.32px;"><span style="font-weight: normal;">gs 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</span>.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNhq6W1y_t4zMrqMAZhxkMtlRg6hXqmWa-T9YeKgNBuP5OpLlifZf7FADXoID-Dkkj8q7qByMaBHAe7ZiTeoFu8kQLwPF1-z5Th8auvlUPlY6HgEmRJOvQMKUqqZA6LeAirXGU2iG3FM/s1600/The+Auction+House.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoNhq6W1y_t4zMrqMAZhxkMtlRg6hXqmWa-T9YeKgNBuP5OpLlifZf7FADXoID-Dkkj8q7qByMaBHAe7ZiTeoFu8kQLwPF1-z5Th8auvlUPlY6HgEmRJOvQMKUqqZA6LeAirXGU2iG3FM/s640/The+Auction+House.jpg" width="476" /></a></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">THE AUCTION HOUSE -SOLD </span></span></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">oil and acrylic on canvas,</span></span><span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> 48 x 36 inches, 2016</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglF_wL-0zPFSSu61c7cfVDNCyEk80Ysyro3SvzDhaAW-3KCp_858t7lT-7pgH1ONsmsAZIAiul10eDO_MQadbvci56iZ2HYnYteiDK9dOpb58Vu_Za9LXx3RBhFnizEIBA5ejnAOGCr7U/s1600/Flowers%252Bfor%252BFibonacci%252B-%252BFinal.jpg" imageanchor="1" style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglF_wL-0zPFSSu61c7cfVDNCyEk80Ysyro3SvzDhaAW-3KCp_858t7lT-7pgH1ONsmsAZIAiul10eDO_MQadbvci56iZ2HYnYteiDK9dOpb58Vu_Za9LXx3RBhFnizEIBA5ejnAOGCr7U/s640/Flowers%252Bfor%252BFibonacci%252B-%252BFinal.jpg" width="478" /></a></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">Flowers for Fibonacci</span></span></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">oil and acrylic on canvas,</span></span><span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> 48 x 36 inches, 2016</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2bkhU10ReQBXUEfJHmUuprkQWmvt3CZbu5RvTx0zaRPxEKBowOtrSzhxlpfQaFY_Zx9SLIszM7fMRcOx5UmI3FXqQ8ARJBx5kn2-al5gsSgMXB0sDsivi7k0SQ7jhjLLZDyyw59SW_3U/s1600/Game%252BTheory%252B%2528new%2529.jpg" imageanchor="1" style="font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-left: 1em; margin-right: 1em;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2bkhU10ReQBXUEfJHmUuprkQWmvt3CZbu5RvTx0zaRPxEKBowOtrSzhxlpfQaFY_Zx9SLIszM7fMRcOx5UmI3FXqQ8ARJBx5kn2-al5gsSgMXB0sDsivi7k0SQ7jhjLLZDyyw59SW_3U/s640/Game%252BTheory%252B%2528new%2529.jpg" width="640" /></a></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">Game Theory </span></span></div>
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<span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif;"><span style="line-height: 19.32px;">oil and acrylic on canvas,</span></span><span style="color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"> 48 x 60 inches, 2016</span></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-13204893401119303362016-04-28T12:20:00.001-07:002016-04-28T12:36:48.617-07:00FLECK FINE ART GROUP SHOW MAY 2016<br />
This May 2016 discover 13 EMERGING ARTITS and 12 GALLERY REPRESENTED ARTISTS<br />
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<a href="http://www.elainefleckgallery.com/spring-summer-2016.pdf">FLECK FINE ART GROUP SHOW</a><br />
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<div style="background-color: white; font-family: Helvetica, Arial, sans-serif; font-size: 13.3333px; padding: 0px 0px 1em;">
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.</div>
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The Fleck Fine Art Catalogue is published twice a year. The spring/summer 2016 issue marks our 14th publication.</div>
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“The catalogue is a group activity, we all promote together to potential art buyers.” Elaine Fleck, Gallery Owner, Curator, Art Dealer</div>
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<span style="font-size: 13.3333px;">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.</span></div>
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<span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: 13.3333px;">Come to the Elaine Fleck Gallery this May... get stimulated, get inspired! </span></span></div>
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<span style="font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: 13.3333px;">TRUE ART TRULY ELEVATES US!</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSghWQWFweEPd6jA-R_JLQwWnYPWP2N6sdWi36PuON-aRHO4EuGWvzAD65RecWFXVTCo7nR7qhXSNVoryx-NPRNLVo6OSLwgUwMDRdwvMxbe4Hg0XgeMqYPtUwP1aUUFLm1MBbDSLW-g/s1600/May+2016+Invitation.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSghWQWFweEPd6jA-R_JLQwWnYPWP2N6sdWi36PuON-aRHO4EuGWvzAD65RecWFXVTCo7nR7qhXSNVoryx-NPRNLVo6OSLwgUwMDRdwvMxbe4Hg0XgeMqYPtUwP1aUUFLm1MBbDSLW-g/s400/May+2016+Invitation.jpg" width="400" /></a></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-17428110437064968992016-04-28T11:30:00.004-07:002016-04-28T11:35:03.678-07:00PAULETTE SAUVE - VALERIE AMADIO - ELIZABETH HARDINGE - April 18 - 30, 2016<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; line-height: 19.32px;"><b>PAULETTE SAUVE </b></span><br />
<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.32px;">LATOMICITE PROFONDE DU PONT archival print 33”x48” 2016</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmXfvk34a_giFzlgj0paZRPeh2xLRSetzioFKfZ4TKqd6055YnND_PDgyaxOH3gZfF56bAPWUTd5rsyuwsFOVHGdc459EtuJmQflP6V25gBTt94OzHXUXbijBjoS_jVEvKWkzh6o1xCAY/s1600/SAUVE-24012-LE+150716-BRIDGE+RIVER+CITY-40H+X++40W-PHOTO-for+catalog-3MB.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmXfvk34a_giFzlgj0paZRPeh2xLRSetzioFKfZ4TKqd6055YnND_PDgyaxOH3gZfF56bAPWUTd5rsyuwsFOVHGdc459EtuJmQflP6V25gBTt94OzHXUXbijBjoS_jVEvKWkzh6o1xCAY/s400/SAUVE-24012-LE+150716-BRIDGE+RIVER+CITY-40H+X++40W-PHOTO-for+catalog-3MB.jpg" width="397" /></a></div>
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<b style="color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px;">VALERIE AMADIO</b><br />
<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.32px;">BRAIN MECHANICS acrylic and Ink on wood panel 24”x36” 2016</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kjyglWkXMjgQTHT9LoirZc9jzfZPlS_oT6MBtj-NDZbTHbWnWiB9rMT6UHSK2BbqY6D7Skc42TMAP7ueTRuc25VGyHcUnd6EgVZ-dY_4UBbXeI2CJYU9TWWfPlJ4hmtwlaZ6mWBz-No/s1600/AMADIO%252C+Brain+Mechanics.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kjyglWkXMjgQTHT9LoirZc9jzfZPlS_oT6MBtj-NDZbTHbWnWiB9rMT6UHSK2BbqY6D7Skc42TMAP7ueTRuc25VGyHcUnd6EgVZ-dY_4UBbXeI2CJYU9TWWfPlJ4hmtwlaZ6mWBz-No/s400/AMADIO%252C+Brain+Mechanics.jpg" width="253" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kjyglWkXMjgQTHT9LoirZc9jzfZPlS_oT6MBtj-NDZbTHbWnWiB9rMT6UHSK2BbqY6D7Skc42TMAP7ueTRuc25VGyHcUnd6EgVZ-dY_4UBbXeI2CJYU9TWWfPlJ4hmtwlaZ6mWBz-No/s1600/AMADIO%252C+Brain+Mechanics.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4kjyglWkXMjgQTHT9LoirZc9jzfZPlS_oT6MBtj-NDZbTHbWnWiB9rMT6UHSK2BbqY6D7Skc42TMAP7ueTRuc25VGyHcUnd6EgVZ-dY_4UBbXeI2CJYU9TWWfPlJ4hmtwlaZ6mWBz-No/s1600/AMADIO%252C+Brain+Mechanics.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<span style="color: #141823; font-family: "helvetica" , "arial" , sans-serif;"><span style="font-size: 14px; line-height: 19.32px;">PEONY PASSION oil on canvas 60” x 75” 2016 </span></span><br />
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<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 19.32px;"><br /></span>gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-13582008065844150792016-03-13T11:45:00.000-07:002016-03-16T14:44:51.555-07:00"INTERCULTURAL" BY SHEININA LOLITA RAJ - ON EXHIBITION AT THE ELAINE FLECK GALLERY APRIL 2016<div class="p1" style="text-align: left;">
My name is Sheinina Lolita Raj, a person who was born from distinctively diverse ancestors, culturally, religiously, linguistically and physically.</div>
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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.</div>
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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.</div>
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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 <span style="text-align: center;">modern day societies, “Intercultural” enlightens ideologies while initiating a common respect for all humanity and ultimately a peaceful coexistence.</span><br />
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-89510810945549173312016-02-23T13:16:00.000-08:002016-02-23T13:18:28.100-08:00March 2016 KATHY KISSIK and DAVID FREDRIK<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18px;">March 2016 The Elaine Fleck Gallery presents work by renowned American artist Kathy Kissik and introduces the work of David Fredrik.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>KATHY KISSIK</b></span><br />
<span style="background-color: white; color: #141823; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18px;">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 S</span><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18px;">cholar recipient, then enrolled in a post-graduate program at the University of New South Wales.<br /><br />Photography Based Mixed Media Collage by Kathy Kissik<br /><br />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.<br /><br />"My vision has always been to evoke how a place feels." -Kathy Kissik</span><br />
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<span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px; line-height: 18px;"><br />David Fredrik's mixed-media works blend chaos and harmony, all while expressing different “stories from the streets”.<br /><br />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.<br /><br />In 2014, David was named an "Artist to Invest in Now" by Saatchi Art. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">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. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />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.<br /><br />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.<br /><br />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.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b>KAREN COLANGELO</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />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. <br /><br />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. <br /><br />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. <br /><br />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. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /><b>Lloyd Arbour</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />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. <br /><br />He uses advanced programs such as Adobe Photoshop and Adobe Illustrator and various techniques to construct his complex pieces of art.</span><br />
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-8585743530820341692015-09-02T12:45:00.000-07:002016-01-24T10:47:12.723-08:00Fleck Fine Art fall-winter 2015<a href="http://joom.ag/JMRp" target="_blank">http://joom.ag/JMRp</a>gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-73159236803199865662015-07-03T12:42:00.000-07:002015-07-24T10:17:15.174-07:00The Elaine Fleck Gallery presents "NEW WORKS" featuring KATHY KISSIK and KAREN COLANGELO for the month of July.<div class="separator" style="clear: both; text-align: center;">
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KATHY KISSIK</h2>
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The New York City series</h3>
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“The NYC artwork never sleeps. When the lights go down the paintings change. I have used light reflective tape to highlight composition and lead the viewer’s eyes on a tour throughout each artwork. The result is a completely different painting depending upon the light in which it is viewed, calling to mind ideas about perspective and what meaning it gives to content. Tall skyscrapers, helicopter views, graffiti, and broken surfaces combine much like the city itself. These pieces are a study of the dynamic world we live in; pulsating, changing, and polarizing.” </div>
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- K.K.<br />
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KATHY KISSIK</h2>
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Star series</h3>
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“Stars at night have provided a source for contemplation and inspiration for millennia. It is our innate nature to seek a relationship to these distant lights that reflect down upon us to challenge our collective perceptions, experiences and beliefs and thus further strengthen our ties to our original source. The 13 stars I have created fold into pyramids and can be manipulated to bend into a multitude of positions. They can adapt to the space they are presented in highlighting that it is the limitless imagination that gives meaning and content to our existence.” – K.K.</div>
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KAREN COLANGELO</h2>
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The inspiration for my paintings comes from the vibrant colours of nature. I represent these colours in layers. To apply the paint, I rarely use a paintbrush; I'm attracted to objects that I use in every day life. I use large sheets of plexiglass to apply the layers of paint to the canvas and as a result of this un-conventional method; the paint when dragged across the canvas evokes a spectrum of colour and movement. It is through this process of layering that these vibrant and whimsical worlds of abstraction are created. - K.C.</div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-64832146043685537932015-06-09T20:28:00.001-07:002015-06-17T13:23:22.948-07:00"INTERCONNECTED" June 2015 at the Elaine Fleck Gallery<div style="background-color: white; color: #141823; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.3199996948242px; margin-bottom: 6px;">
<span style="line-height: 19.3199996948242px;">Featuring the work of Lloyd Arbour, Paulette Marie Sauvé and Julien Poublanc</span></div>
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LLOYD ARBOUR<br />
Interconnected is a collection of new works based around isolated architectural landscapes. The artwork features collaged imagery of highway overpasses from various urban locations. The open road is a representation of the path we choose to take as individuals — the future, past and the present. Focused on moving forward these works evoke emotion and progress in every interconnected line.</div>
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These complex landscapes were created digitally by combining countless layers of collaged photographs. Inspired by brutalist architecture the imagery is made up of objects and textures found in urban environments including glass, metal beams, concrete, wood and building materials. Combining natural and man made objects together allows the viewer to experience an added sense of depth within the scenes. The goal is to create the feeling of serenity within fast paced urban environments.</div>
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PAULETTE MARIE SAUVE<br />
These new works have evolved from the series called “River Cities”. The architectural shapes have tiny colourful windows, and reflections adorn the buildings, the sky, the streets and in some cases, the lake.</div>
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In these mixed media paintings, I have created a textured landscape by imbedding woven metal and fabric in a polymer paste. One finds silhouettes of buildings that are given more depth with collages of digital prints on cotton fabric.</div>
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On the representations of steel and concrete structures, the prism-like sketches provide a playful atmosphere.</div>
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JULIEN POUBLANC<br />
The inspiration for my abstract paintings comes from my desire to experiment with new processes. Leaving room for improvisation, these are the processes that I want to reveal on the canvas. Using strong colours and textures, energetic and gestural lines, I attempt to evoke a spontaneous and playful feeling in the viewer<br />
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-26433762720772346812015-05-14T11:30:00.001-07:002015-05-14T11:30:58.192-07:00The Elaine Fleck Gallery scotiabank Contact Photo Festival Show featuring Mark Brodkin and Jamie Day Fleck<div style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 14px; line-height: 19.3199996948242px; margin-bottom: 6px;">
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<span style="line-height: 19.3199996948242px; text-align: start;">Mark Brodkin shoots iconic locations from around the world in the way most photographers can only dream of! His boundless energy, thorough preparation, steadfastness and technical expertise is second to none. Elaine Fleck has culled through Mark's bountiful collections of photographs to curate "Reunification". Get reconnected with these natural wonders through Mark Brodkin's s</span><span class="text_exposed_show" style="display: inline; line-height: 19.3199996948242px; text-align: start;">uperb, elevating photographs.</span></div>
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Jamie Day Fleck's newest series of photographs titled "Earth and Sky", explores the landscapes of Ireland where historical sites blend with nature, creating a dialogue between the contemporary and the eternal. The images are at once of the present, due to the cloud formations and play of light, while being rooted in the past with ruins and timeless natural features. Using bold compositions and strong leading lines, these historic locations are refashioned to a statement of nowness showing that beauty and nature are always relevant. The images are in Black and White to further accentuate the compositional lines, symmetry and repetition creating graphic representations and reinterpretations of Irish vistas and locales.<br />
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-50659939845494548762015-03-24T10:22:00.001-07:002015-03-24T10:27:18.159-07:00April 2015 at the Elaine Fleck Gallery "LIGHT SHOW" by Amy Shackleton - Gravity Painter - Sustainable Future Visionary!<div class="separator" style="clear: both; text-align: center;">
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<span style="line-height: 19.3199996948242px;">This new series of work is inspired by colour and brightness—the visual sensation produced by light. Light Show could refer to a natural occurrence (like a sunset or colourful sky) or an artificial display (like festive or urban lights). Everyday, we rely on a balance of both—and as solar technologies continue to emerge the division is blurr</span><span class="text_exposed_show" style="display: inline; line-height: 19.3199996948242px;">ed. Sunlight is a key ingredient in sustainable building projects. Drawing inspiration from the visible light spectrum (all the colours of the rainbow) I explore the beauty and energy of both natural and artificial light in California, New York and Toronto.</span></div>
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<span style="line-height: 19.3199996948242px;">With my work I aim to stimulate dialogue and propose new possibilities for co-existence between man and the environment. My paintings are intended to portray urban life at its best, demonstrating ways that we can work with nature rather than against it. I explore continually evolving approaches to preserving our environment, living more efficiently and using fewer natural resources. My art suggests how we can implement innovative solutions for city planning and development with minimal impact on surrounding habitats. </span><span style="background-color: transparent; line-height: 19.3199996948242px;">I developed a unique technique to complement my themes. I don’t use paintbrushes—I drip paint with squeeze bottles to build layers of organic lines (by spraying water and rapidly spinning each canvas) and straight lines (using a level). 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.</span></div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-10699725488446644332015-03-13T12:50:00.000-07:002015-03-13T12:50:27.057-07:00<div style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19.3199996948242px; margin-bottom: 6px;">
"INNOVATION" New Work by Harrison Taylor and New Work by Jacqueline Veltri.</div>
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Harrison Taylor combines photography, traditionally the purest form of representational art, with his inventive processes of manipulating materials such as paints, wax and pigment in order to draw out organic patterns. His presentation on multi-layers of plexi adds yet another dimension. His newest work achieves an innovative abstraction that is as chaotic and organized as the universe itself. Harrison is continually challenging the conventional 'limitations' of art media. </div>
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Jacqueline Veltri’s newest oil paintings of handsome antique timepieces immediately pull the viewer into experiencing a wonderful sense of drifting back and forth between hyper-realism and the imaginative composition of the artist. </div>
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-22843189821477759072015-01-24T11:45:00.000-08:002015-01-24T11:59:36.253-08:00"Under-Texting"<i><span style="font-size: large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></span>
</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i><b>Marcel Guldemond is a breath of fresh air</b></i>;
his use of traditional oil techniques combined with his illustration style
makes his work a fun, unique, experience for all. His recent series is titled “Under-Texting”
it depicts many storylines by contrasting brightly shaped comic book panels
inside the golden glow of dusk, suggesting a larger narrative that the viewer
can further explore. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span><br />
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Marcel Guldemond lives in Ottawa, Ontario
and is constantly inspired by the beautiful Canadian landscape. Marcel takes inspiration
from Northern Ontario towns all the way to Parka Expeditions. His diverse work
will be showcased in the month of February at the Elaine Fleck Gallery. </span></span><br />
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<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
<i>Artist Statement </i><br />
<i><br /></i></div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
Undertexting describes a new art making process I've developed, as well as the idea that we</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
as human beings use stories to understand everything in our lives; that the cultural context of</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
everything we've read and watched and listened to forms the underlying context of almost</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
every moment that we live.</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
<br /></div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
One could also say that undertexting is about the relativity of meaning, that all meaning is only</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
ever understood within a cultural context, and how that cultural context is formed by the</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
stories we consume. [One could also say that it's about how the background context of how</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
we understand things is often a jumble, but that might just be a reflection of the disarray in my</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
own mind.]</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
<br /></div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
As a art making process, Undertexting starts with a layer of torn photocopies of pages from</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
my favourite books, mostly novels, that I paste on to the panel over top of the original</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
drawings. I then paint on top of that with thin layers of paint (much thinner than I'd been using</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
in the past) allowing you to see some of the underlying text, making that cultural context more</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
explicit and part of the visual story.</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
<br /></div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
Undertexting is a new art making process for me not only because of the underlying layers of</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
text, but also because I've completely changed how the paintings look: I've begun to explicitly</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
incorporate things from my background in comics. These include the use of inset panels,</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
which I'm using to show key scenes in the stories the paintings are describing, and the use of</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
more abstract line and flat colour based backgrounds, which set the emotional contexts and</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
the settings for the stories they tell.</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
<br /></div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
When people would ask me what my paintings were about before Undertexting, I usually said</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
that they were scenes from imaginary novels, or what it felt and looked like to be in an</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
imaginary novel. These new paintings that make up Undertexting are, with their underlying</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
layers of text and their use of visual storytelling elements from the comics medium, even more</div>
<div class="yiv3442738053" id="yiv3442738053yui_3_16_0_1_1422128965076_3620">
about scenes from, or being inside of, imaginary novels. I hope you enjoy them.<br />
<br />
- Marcel Guldemond</div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0888 Queen Street West, Toronto, ON M6J 1G3, Canada43.6451347 -79.4147668-7.9953302999999991 -162.0319543 90 3.2024207000000047tag:blogger.com,1999:blog-389447324523182649.post-34727118500658524522014-11-06T13:01:00.000-08:002015-01-21T13:11:11.601-08:00Building on the Edge <div id="yui_3_16_0_1_1421852469052_203855" style="background-color: white; font-family: 'Helvetica Neue', 'Segoe UI', Helvetica, Arial, 'Lucida Grande', sans-serif;">
<i id="yui_3_16_0_1_1421852469052_204389"><b id="yui_3_16_0_1_1421852469052_204388">Amy Shackleton's newest paintings </b>are </i><span id="yui_3_16_0_1_1421852469052_203854">inspired by her recent road trip through the American Southwest. For over two weeks Amy explored breathtaking scenery in Zion National Park, Canyonlands National Park, Arches National Park, Bryce Canyon, Lake Powell, Horseshoe Bend, Monument Valley and The Grand Canyon. </span></div>
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Amy states, "While hiking through the Grand Canyon, from rim to rim, I couldn’t help but imagine a city within its walls. In this series, I perch buildings from Toronto, Vancouver and Las Vegas atop canyons from Utah, Arizona and Nevada."</div>
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I envision post-industrial worlds where healthy sustainable relationships exist between man and the environment. My paintings are intended to portray <span id="yui_3_16_0_1_1421852469052_203860">urban life at its best, demonstrating ways that we can work with nature rather than against it. I explore continually evolving approaches to preserving our</span> <span id="yui_3_16_0_1_1421852469052_203861">environment, living more efficiently and using fewer natural resources. My art suggests how we can implement innovative solutions for city planning</span> and development with minimal impact on surrounding habitats.<br clear="none" /><br />
<span id="yui_3_16_0_1_1421852469052_203862"> This synthesis of ideas is manifested in how I paint. I apply paint with squeeze bottles and spin each canvas to build layers of straight and organic lines.</span><span id="yui_3_16_0_1_1421852469052_203863"> </span><span id="yui_3_16_0_1_1421852469052_203864">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.</span><span id="yui_3_16_0_1_1421852469052_204778"> </span><span id="yui_3_16_0_1_1421852469052_203865">As in nature, the environmental elements are more spontaneous, unpredictable and liquid. I achieve these effects by dripping paint, using a level,</span> <span id="yui_3_16_0_1_1421852469052_204779">spraying water and rapidly spinning each canvas. </span><br />
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gary ray rushhttp://www.blogger.com/profile/14039324882761163470noreply@blogger.comtag:blogger.com,1999:blog-389447324523182649.post-26746534398169255302014-10-01T18:27:00.001-07:002014-10-17T10:43:53.165-07:00October 2014 - "Collision Yangon" by Andrew Rowat<div class="yiv4951537901" id="yui_3_16_0_1_1412182577933_227807" style="font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 16px;">
<span style="font-weight: bold;">All photographs for "Collision Yangon" were meticulously shot on 4x5 or 8x10 inch negatives. </span></div>
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<span class="yiv4951537901" style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 20px;">"Shooting only large format film (4x5 and 8x10) I wanted to use a tool that was physically aligned with the character and age of what I was photographing. The large format process is a physically demanding enterprise, but ultimately yields negatives </span><span class="yiv4951537901" style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 20px;">suitable for extreme enlargement while maintaining rich detail." -Andrew Rowat</span><br />
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<span class="yiv4951537901" style="font-weight: bold;">Elaine Fleck culled through hundreds of Andrew's large format images in order to curate ten photographs that go directly to the heart of the story - "Collision Yangon", at the Elaine Fleck Gallery for the month of October. </span></div>
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<div class="yiv4951537901" id="yui_3_16_0_1_1412182577933_227811" style="font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 16px;">
<span class="yiv4951537901" style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 20px;">Andrew Rowat’s portraits have appeared in Vanity Fair and The New Yorker, his travel work regularly appears in Conde Nast Traveler and Travel & Leisure, and his architecture and lifestyle wo</span><span class="yiv4951537901" id="yui_3_16_0_1_1412182577933_227812" style="color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 20px;">rk finds its way into the pages of Wallpaper, Monocle, and Dwell. His profile features have appeared in Esquire, and GQ.<br class="yiv4951537901" /><br class="yiv4951537901" />Andrew Rowat’s fine art is represented by the Elaine Fleck Gallery.<br class="yiv4951537901" /><br class="yiv4951537901" />- I first visited Yangon (formerly Rangoon) in Myanmar (formerly Burma) in the Fall of 2012 while on assignment for WSJ, the style magazine for the Wall Street Journal. I was charged with capturing the colonial architecture in the city and was immediately struck by some of the similarities between Yangon and Shanghai – a city I had called home for almost eight years.<br class="yiv4951537901" /><br class="yiv4951537901" />I had moved to Shanghai in 2002 just as China was really starting to explode on to the world scene – it was becoming an economic powerhouse, its art was starting to be collected seriously, and the architectural projects that were getting the green light couldn’t have been built anywhere else in the world. It was a wild and wooly time for the next eight years as I lived at this intersection of change – with the world coming to China’s doorstep and China playing the role of self-assured debutante on the global stage. <br class="yiv4951537901" /><br class="yiv4951537901" />Whole neighbourhoods were razed in the name of progress and development as architecturally unique districts with all of their attendant history were lost. When I first arrived in Shanghai there were three subway lines, and when I left eight years later there were 13. It was a breakneck pace and one that has slowed little today.<br class="yiv4951537901" /><br class="yiv4951537901" />My experience in Shanghai sensitized me to the importance of capturing the essence of a place before it is completely paved over.<br class="yiv4951537901" /><br class="yiv4951537901" />To be sure, Yangon is not Shanghai, nor will it ever be, but here you have two cities on a river. Two cities with a deep British Colonial past. Two cities whose river banks still bears testament to their former British rulers with hulking grand buildings. Twenty years ago Shanghai’s Pudong riverbank was still rice paddies, whereas today it is the financial heart of the city and home to a forest of some of the tallest buildings in the world. Yangon’s opposite bank is still undeveloped with rice paddies stretching as far as the eye can see and a primitive ship building and repair operation dominating the landscape. You will find no buildings above two stories. This is a city on the cusp – the change is upon it.<br class="yiv4951537901" /><br class="yiv4951537901" />Burma itself is a country of collisions: transitioning from 50 years of dictatorship (1962-2011) to some sort of hybrid democracy; a pre-dominantly Buddhist country driven by deep religious differences and sectarian violence, often perpetrated against Muslims. It is a country that is a proxy battleground for China, Japan, and the US – a modern day Great Game playing out in South East Asia. Its neighbours in the region are also clamouring for a piece of the development pie – Singapore is looking to build office towers, Vietnam has broken ground on new shopping malls, and China has designs on just about everything.<br class="yiv4951537901" /><br class="yiv4951537901" />It is within this context of flux that I felt compelled to offer my own commentary on this city in the middle of the maelstrom.<br class="yiv4951537901" />Shooting only large format film (4x5 and 8x10) I wanted to use a tool that was physically aligned with the character and age of what I was photographing. The large format process is a physically demanding enterprise, but ultimately yields negatives suitable for extreme enlargement while maintaining rich detail.<br class="yiv4951537901" /><br class="yiv4951537901" />The Burmese people are striding forward into this still unformed future both caught in the slipstream of their neighbours’ <br class="yiv4951537901" />progress while trying to chart their own unique path.</span></div>
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<div style="font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 16px;">
<span class="yiv4951537901" id="yui_3_16_0_1_1412182577933_227814" style="color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 20px;">Yangon itself translates as ‘End of Strife’ and I hope that as the 2015 parliamentary elections loom that the strife which this country has experienced for half a century will be at an end – ushering in a new era of renewal built on the bones of it. - Andrew Rowat</span></div>
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<strong class="watch-time-text" style="background: transparent; border: 0px; font-size: 12.7272720336914px; margin: 0px; padding: 0px; vertical-align: middle;">Published on Oct 4, 2014</strong></div>
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A brief explanation of Andrew Rowat's "Collision Yangon" project, starting from 2012-2014. The project is ongoing, but the video delves into the different forces that are at play in Myanmar and Yangon specifically today in advance of the 2015 Parliamentary elections. The project started from,from a commission to photograph colonial architecture for the Wall Street Journal's magazine WSJ and evolved from that point.</div>
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<span style="color: #333333; font-family: arial, sans-serif; font-size: 12.7272720336914px; line-height: 17px;">Video shot by Lee Satkowski, Andrew Rowat, and Algirdas Bakas. Music by Algirdas Bakas, editing by Jia Li.</span></div>
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Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-46210771337536386692014-08-31T10:29:00.000-07:002014-08-31T10:29:01.163-07:00The September Show featuring Harrison Taylor, Rhiana Sneyd and Beverley Abramson.<div class="separator" style="clear: both; text-align: left;">
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<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19.31999969482422px;">Harrison Taylor using various media including drawing, painting and photography has created new works rich with organic shapes extracted from a multi disciplinary process. Included are six innovative multi-dimensional pieces framed in Italian wood, this is a must see!</span></div>
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<span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19.31999969482422px;">Rhiana Sneyd has painted large new architectural landscapes that convey the d</span><span class="text_exposed_show" style="color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19.31999969482422px;">rifting warm hues glowing at dusk played against the descending cool darkness of night.</span></div>
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Beverley Abramson has new limited edition photographs from her recent series “Environment”. </div>
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“Bold textures and colours, sights, sounds and shadows within diverse and mysterious culture are poignant moments that are unified by the celebration of innate beauty found in nature and humankind.” - Beverley Abramson</div>
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Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-43532235970140253162014-07-20T13:39:00.003-07:002014-07-20T13:44:17.999-07:00The July Show at the Elaine Fleck Gallery Featuring Painter Sumi Zushi<h3 style="background-color: white; font-family: Garamond, Georgia, serif; font-size: 30px; margin: 20px 0px 5px 30px; padding: 0px; text-align: left;">
<span style="font-weight: normal;"><span style="font-family: Helvetica, Arial, sans-serif; font-size: 14px;">"I find peace in nature and a purpose in painting. I am dedicated to exploring the qualities of landscapes in oil. I am inspired by nature, by the complexity of light, colour and pattern that it creates, and I strive to capture these ephemeral qualities in my work. It is these colour patterns, the rhythm of light and shadow and the glowing afternoon sunlight that I translate. I express with intensity, the immediacy of my experience within the landscape. My brushwork can be aggressive, stemming from a physical reaction to the setting in which I am working. I</span><a href="https://www.blogger.com/null" name="_GoBack" style="background-color: transparent; color: #445566; font-family: Helvetica, Arial, sans-serif; font-size: 14px;"></a><span style="font-family: Helvetica, Arial, sans-serif; font-size: 14px;"> </span><span style="font-family: Helvetica, Arial, sans-serif; font-size: 14px;">am inspired by different environments to experiment with different painting techniques and this challenges me as an artist." Sumi Zushi</span></span></h3>
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Sumi has just returned from Japan with Eight New Paintings painted during the country's iconic Sakura (cherry blossom) season. Sumi's work evokes the masterful french impressionist Monet, yet with a fresh contemporary edge that is unmistakable. </div>
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<span style="background: white; color: #c0504d; font-family: Helvetica;">"Hanami"
(flower viewing) is the centuries-old practice of picnicking under a
blooming <i>sakura (Cherry Blossom)</i> or <i>ume</i><span class="apple-converted-space"> </span>(plum blossom) tree. The custom
is said to have started during the <a href="http://en.wikipedia.org/wiki/Nara_Period" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Nara Period"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Nara Period</span></a> (710–794)
when it was <i><a href="http://en.wikipedia.org/wiki/Ume" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Ume"><span style="color: #c0504d; text-decoration: none; text-underline: none;">ume</span></a></i> blossoms
that people admired in the beginning. But by the <a href="http://en.wikipedia.org/wiki/Heian_Period" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Heian Period"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Heian Period</span></a> (794–1185),
cherry blossoms came to attract more attention and <i>hanami</i> was
synonymous with <i>sakura</i>. The custom was originally limited to
the elite of the Imperial Court, but soon spread to <a href="http://en.wikipedia.org/wiki/Samurai" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Samurai"><span style="color: #c0504d; text-decoration: none; text-underline: none;">samurai</span></a> society and,
by the <a href="http://en.wikipedia.org/wiki/Edo_period" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Edo period"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Edo period</span></a>,
to the common people as well. Shogun <a href="http://en.wikipedia.org/wiki/Tokugawa_Yoshimune" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Tokugawa Yoshimune"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Tokugawa Yoshimune</span></a> 1716 -
1745 planted areas of cherry blossom trees to encourage this. Under
the <i>sakura</i> trees, people had lunch and drank <a href="http://en.wikipedia.org/wiki/Sake" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Sake"><span style="color: #c0504d; text-decoration: none; text-underline: none;">sake</span></a> in cheerful
feasts.</span><span style="color: black;"><o:p></o:p></span></div>
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<span style="background: white; color: #c0504d; font-family: Helvetica;">Every
year the Japanese Meteorological Agency and the public track the <i>sakura
zensen</i> (<a href="http://en.wikipedia.org/wiki/Cherry_blossom_front" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Cherry blossom front"><span style="color: #c0504d; text-decoration: none; text-underline: none;">cherry blossom front</span></a>) as it moves northward up
the archipelago with the approach of warmer weather via nightly forecasts
following the weather segment of news programs. The blossoming begins in <a href="http://en.wikipedia.org/wiki/Okinawa" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Okinawa"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Okinawa</span></a> in January
and typically reaches <a href="http://en.wikipedia.org/wiki/Kyoto" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Kyoto"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Kyoto</span></a> and Tokyo at the end of March or the
beginning of April. It proceeds into areas at the higher altitudes and
northward, arriving in <a href="http://en.wikipedia.org/wiki/Hokkaid%C5%8D" style="background-attachment: initial; background-clip: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;" title="Hokkaidō"><span style="color: #c0504d; text-decoration: none; text-underline: none;">Hokkaidō</span></a> a few weeks later. Japanese pay
close attention to these forecasts and turn out in large numbers at parks,
shrines, and temples with family and friends to hold flower-viewing
parties. <i>Hanami</i> festivals celebrate the beauty of the cherry
blossom and for many are a chance to relax and enjoy the beautiful view. </span></div>
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<span style="color: black;"><o:p></o:p></span><br />
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<span style="background: white; color: #c0504d; font-family: Helvetica;"><br /></span></div>
Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-29888707244514631972014-06-03T14:30:00.002-07:002014-06-04T06:39:15.412-07:00FLECK CONTEMPORARY FINE ART MAGAZINE GROUP SHOW<div class="MsoNormal" style="text-align: center;">
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">This past April over ten thousand select Toronto homes received FLECK CONTEMPORARY FINE ART MAGAZINE and of course we have provided an online version viewable by everyone and anyone. </span></div>
</div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">This June we celebrate the first edition of Fleck Contemporary Fine Art Magazine with</span><br style="background-color: white; color: #333333; line-height: 20px;" /><span style="background-color: white; color: #333333; line-height: 20px;">The Fleck Contemporary Fine Art Magazine Group Show and Art Sale.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;"><br /></span></span>
<br />
<div style="text-align: center;">
<span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 20px;">Featured Elaine Fleck Gallery Represented Artists:</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"></span><br />
<div style="text-align: center;">
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Beverley Abramson</span></span><br />
<span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 20px;">Lloyd Arbour</span></div>
<div style="text-align: start;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Maggie Broda</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Nicole Charles</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Michael Conway </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Roman Elinson</span></span></div>
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Kathy Kissik </div>
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Gary Ray Rush</div>
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Amy Shackleton</div>
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S. Vote</div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Featured Independent emerging Canadian artists:</span><span style="background-color: white; color: #333333; line-height: 20px;"> </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Laura Anne Clayton</span></span><br />
<span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 20px;">Karen Colangelo </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Claudette Losier</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Jennifer Macdonald </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Paul Mitchnick </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #333333; line-height: 20px;">Julien Poublanc </span></span></div>
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Joan Andal Romano </div>
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Paulette Marie Sauvé </div>
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Jacqueline Veltri </div>
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Lisa Vigliotta </div>
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Stephen L. Waisberg</div>
<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;"><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span><span style="background-color: white; color: #333333; line-height: 20px;"></span></span><br />
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Eleanor Kee Wellman</div>
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<span style="background-color: white; color: #333333; line-height: 20px;"><a href="http://www.elainefleckgallery.com/spring-summer-2014.pdf">http://www.elainefleckgallery.com/spring-summer-2014.pdf</a></span></div>
</span>Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-43031063398993648272014-05-21T19:30:00.001-07:002014-05-22T11:10:27.591-07:00scotiabank CONTACT photography festival - "ReConstruction" at the Elaine Fleck Gallery, featuring The Contemporary Fine Art Photography of S. Vote and Gary Ray Rush<div style="text-align: center;">
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GARY RAY RUSH</h2>
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The objects I’m photographing are utilitarian (useful) and as such are intended to be appealing to our eyes and to feel good in our hands.<br />
The four items I selected to photograph for this exhibition each have their own unique story. One is the inventor(s) ability to imagine new realities and to originate new and innovative ideas, which through planning and effort become an object of their own invention. The other is the people that owned and used each of these inventions. For instance the Nikon F2 is the camera that I started my professional career with and was purchased from a friend and mentor.<br />
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I’ve coined the word “Macro-pan photography” to describe my photography process.<br />
Macro: Photographing small objects using close up photography equipment so that the object can be printed greater than life size. From Greek makros meaning “large” as in macro photography.<br />
Pan: Photographing several slightly overlapping sections of a scene or object by tilting or swinging a camera from one side to another or up and down. From Greek pan meaning “all, all-inclusive” as in the word panorama.<br />
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In my studio I’ll take many test shots in order to choose the angle and lighting that draws attention to the beautifully designed features of my subject. Once the angle and lighting are worked out I’ll shoot many close-ups of each facet of the object. I shoot each close-up using a macro lens and sized in camera to print sharp and render excellent detail at approximately 16x20 inches. Using Adobe Photoshop I then merge as many as twelve of these images together resulting in a file that can be printed up to twelve feet by fifteen feet with uncompromising detail at close inspection. Next in Photoshop I'll transform the image to bring the object back to its original perspective. Finally the retouching; often the objects I’m choosing are decades old and show tremendous wear and tear, my challenge in retouching is to leave the character that only use and age can produce while ensuring the original design elements shine through. ~ Gary Ray Rush - May, 2014<br />
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S. VOTE</h2>
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<span style="text-align: left;">We all love stories, we are born for them.</span>Art tells stories and these stories reveal the truth and affirm who we are as humans. We are drawn to stories, and we are drawn to art … that is how we make meaning of our lives.<br />
Our lives are journeys; art and stories allow us to experience the similarities between ourselves and others.<br />
Stories and Art are as vital as food and air and water and love. Our stories, our ideas, our passions and truth shape us.<br />
Now; tell me your story.<br />
S.Vote - May, 2014.</div>
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Anonymoushttp://www.blogger.com/profile/14220452013664277810noreply@blogger.com0tag:blogger.com,1999:blog-389447324523182649.post-65477347820235354302014-02-26T11:57:00.003-08:002014-02-26T12:06:56.087-08:00INK NOIR interview with Elaine Fleck<h2 style="border: 0px; color: #666666; font-family: Helvetica, Arial; font-size: 29px; letter-spacing: -1px; line-height: 1.2; margin: 9px 0px 20px; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="color: #cccccc; font-size: 10px; line-height: 1.5; text-align: justify; text-transform: uppercase;">FEB 14 </span><a href="http://www.inknoir.com/interviews/interview-with-art-dealer-gallery-owner-and-curator-elaine-fleck/" rel="bookmark" style="border: none; color: #cc0000; line-height: 1.2; margin: 0px; outline: 0px; padding: 0px; text-align: justify; text-decoration: none; text-transform: uppercase; vertical-align: baseline;" title="Permanent Link to Interview with art dealer, gallery owner and curator Elaine Fleck: embracing life through creating, learning and knowing">Interview with art dealer, gallery owner and curator Elaine Fleck: embracing life through creating, learning and knowing</a></h2>
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Art history is built on a foundation of unforgettable stories: fascinating, bold, sometimes tragic, full of romance, and most of all overflowing with mesmerizing personalities. There is a reason why we say “that’s a Picasso” as if we are in the presence of the artist himself. Part of that history is due to the monumental role art dealers play in artist’s lives. Picasso, for example, would not be a household name without <a href="http://en.wikipedia.org/wiki/Ambroise_Vollard" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #111111; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Ambroise Vollard</a>, a brilliant individual in his own right who helped with exposure, finances and, most importantly, emotional support for an array of now historically significant artists. Then and now exceptional art dealers must be intelligent, knowledgable, intuitive, educated, and business oriented – and that’s just scratching the surface. Art dealer, gallery owner, and curator Elaine Fleck of <strong style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The</strong> <strong style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Elaine Fleck Gallery </strong>fits the role on all accounts. She graciously sat down with me this weekend to discuss the inner workings of her job, her passion, and just how vital a good art dealer is to any great artist. Below are brief excerpts from our conversation. I know I have said this before but it is the absolute truth: the most painful part of my job for <em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Ink Noir</em> is narrowing down quotes when speaking to such vibrant personalities.</div>
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<img alt="Fleck4" class="alignnone size-full wp-image-871" height="278" src="http://www.inknoir.com/wp-content/uploads/2014/02/Fleck4.jpg" style="background-color: #fafafa; border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; border-top-left-radius: 3px; border-top-right-radius: 3px; border: 1px solid rgb(221, 221, 221) !important; display: block; height: auto; margin: 20px 20px 20px 0px; max-width: 100%; outline: 0px; padding: 5px; text-align: center; vertical-align: baseline;" width="400" /></div>
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“I own a gallery on West Queen West in the trendy art and design district. Being in a good location is key for a commercial gallery because commercial galleries are very public activities. You are dealing with the whole public, art buying is no longer on the weight of the very wealthy people. Since the 80s there have been credit cards and since there is credit I have observed that the gallery is for everyone, and that’s a great thing because now I can speak to the whole world as patrons of the arts. That’s how the gallery started, that’s what we want. The broader public is involved, I always include them in my gallery: I include them in soirees and they’re included in the whole process of education and understanding. I try to bring the whole community together and I’m actually getting quite well known for that. I enjoy it and I find my job is very spiritually uplifting because I’m helping artists, and I’m helping people understand what an original piece of art work is. I enjoy my job.” – Elaine Fleck</div>
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“If a person is truly dedicating their lives to what they want to get out to the world, someone has to listen to that. You can’t ignore that kind of communication – you could probably drive someone crazy not acknowledging that and that’s probably why people look to artists as being crazy. But I look at it in a different way. Artists are up there on the aesthetic plane so there has to be a liaison, and I’m that liaison that brings people up to that aesthetic because I’m so passionate, so in love with the artists that I show, I so adore them that I want the world to know about my artists. For my artists it is a gift to be part of that kind of a team, you are stronger as a team. All throughout history there are art dealers and artists. My mentors are people like <a href="http://en.wikipedia.org/wiki/Edith_Halpert" style="background-color: transparent; border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #111111; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Edith Halpert</a> who started the first downtown gallery in 1926 in Greenwich Village with a focus on being an art dealer. She was a very strong woman and went to the village for practical reasons. Do you know why? Because it was close to where the artists lived in the ghetto so that they could be part of the gallery. It was amazing who she would bring in! When people tell you that there’s no walk-in traffic and it’s all from a black book I laugh because it is such a public activity. Who parked in front of her front door and walked down to the basement? Rockefeller’s wife, Abby Rockefeller, who became her best client, art patron, and took her through the great depression.”</div>
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Fleck is always actively educating herself, she has taken a variety of courses consistently for the last twenty-two years and prides herself on being a sponge to the knowledge she acquires through art authorities, art dealers, other curators, the internet, and the art buying public at large. She is also an avid reader having inherited a love of books from her mother. But her art education extends well beyond with a past as a trained dancer in New York and a whole talented family engaged and engulfed in various arts, as well as philanthropic ventures. One may say it’s in her blood. This innate intuition has resulted in a handful of talented and accomplished artists selected to be represented by her gallery.</div>
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You have probably realized as you read this that Fleck wears many hats, from owner of a gallery, to business woman, to active student, curator, art director and art dealer. In reality, she has many more. For one thing, she not only engages and educates the public that comes through her doors, but also the frequent artists. Artists may take a variety of photography workshops at the gallery (taught by the gallery’s director <a href="http://www.garyrayrush.com/index.html" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #111111; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Gary Ray Rush</a>, a highly accomplished photographer – if you want to be wowed take a look at his <a href="http://www.garyrayrush.com/index.html" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-width: 0px 0px 1px; color: #111111; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">portraits</a>), they may frequent her informative seminars and art talks, and she does weekly portfolio viewings. In her popular and surprisingly enjoyable portfolio viewings she presents the artists with a clear and objective outline of art critique and curation, clearing up the often misused and elusive concept of “unique”, followed by an understanding of the technical expertise that allows for an emotional impact. Finally, it comes down to the message.</div>
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“The universal message, I’m talking about the artist knowing what they want to say. You’ll find all the real greats that we know in history, they got what they wanted to say out and they can rest in peace. It’s a beautiful thing. From the get-go Amy Shackleton had a goal, she came to me as a young artist and she knew what she wanted to say. She had a sustainable futures that she wanted to show and she worked until she could show them so clearly anyone can get it. You don’t have to be a PhD from Harvard to know what she is communicating to the world.”</div>
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<img alt="Fleck3" class="alignnone size-full wp-image-869" height="667" src="http://www.inknoir.com/wp-content/uploads/2014/02/Fleck3.jpg" style="background-color: #fafafa; border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; border-top-left-radius: 3px; border-top-right-radius: 3px; border: 1px solid rgb(221, 221, 221) !important; display: block; height: auto; margin: 20px 20px 20px 0px; max-width: 100%; outline: 0px; padding: 5px; text-align: center; vertical-align: baseline;" width="1000" /></div>
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Elaine Fleck, pictured above in front of one of Amy Shackleton’s creations.</div>
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“I am the curator and art director of my publication, <em style="background-color: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Fleck Contemporary Art Magazine</em>, which goes out twice a year. It was a catalogue over the past five years where we literally sent out over one hundred thousand published catalogues that are very beautiful and very well worked on and put together. But I and Gary Ray Rush, the editor of the catalogue, we wanted more content for the readers. We wanted people to have more information about what we are doing and get to know our artists… Now we have this publication and we have included other galleries, like Steward Jackson next door who writes about his love for the Japanese print and what turned him on to it when he was a young man and why he has been selling those for 30 years. It is just so beautiful. We have a journalist from India writing about Indian installation, and if you look at the pictures – it’s so different and delightful that we could bring this into art buyer’s homes. We hire a distribution company to put it into fifteen thousand homes twice a year and artists promote, we provide a platform to promote and have been doing this going on six years.”</div>
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“My next job is my most important, and that’s my art dealer job. My art dealer job is the one that keeps the scene going and it is to make my artists known and to promote the works that they are doing, and to continue to expand their client base and to get them to the next level in the art industry, which is art collectors demanding their art works. I have done an incredible job with Amy Shackleton, she is an example of a young artist with an art dealer that brought her from coming out of school and moved it up up up to the next level. What I bring heavily to this scene is my diverse background in the arts. I’ve seen every aspect of the different industries in the arts come to the same place: spirit, mind, body. You have a very beautiful exterior view of how the whole machine should work when you can see it working like that. I’ve represented artists since I was eighteen, I’ve been in the music industry, I’ve been in the photo industry, I’ve been a stylist, I’ve been a director on set, I’ve done so many things that add up to this gallery so I like to think of it as, <em style="background-color: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">I do the art in front of me</em>. And it’s a great way to be.”</div>
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See the gallery for yourself and spend some time with the delightful Elaine Fleck. Tell her I sent you – you won’t be disappointed.</div>
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“You really see when you are raised in the arts like I was that it is not about going in for a paycheck, it is going in for the create that you yourself have to do, which is so important in life. It is a wonderful thing to embrace life through thriving on creating and learning and knowing.”</div>
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- Ania</div>
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http://www.inknoir.com/interviews/interview-with-art-dealer-gallery-owner-and-curator-elaine-fleck/</div>
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