JULY 2016 EXHIBITION: "SPACE TIME AND MOTION" AT THE ELAINE FLECK GALLERY

SPACE TIME AND MOTION 

features new artwork by

Jacqueline Veltri exhibiting until July 31, 2016 

Cindy Dyson and Scott Kish exhibiting until July 16, 2016 

This artwork is for sale.

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

https://elainefleckgallery.com/collections/jacqueline-veltri

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My fascination with everyday street scenes reflects my hope and struggle to believe that the most beautiful moments in life are not always as expected. Perhaps these precious times are all at once – mundane and frenzied, fragile and strong, peaceful and painful, sunny and dark.

I work with acrylic paint and palette knives.  I find that the endlessness to the variety of mark I can make with these tools challenges and fascinates me.  I love the physicality and range of the knife – aggressive slices, delicate dabs, focused scrapes and thick bold swaths of colour.  The paint is so flexible – I can spray, splatter, blob and pour it. These qualities enable me to express a wide range of emotion in each piece.

I am greatly influenced by the European Impressionists. Their sensitive offerings physically and emotionally connect me to their 19th century world. My application of paint does not result in realistic representation.   Rather, I am satisfied with a rough familiarity and mood of subject.  My goal is to present an intriguing balance of roughness and tenderness; boldness and vulnerability, representation and expression. - Cindy Dyson 

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

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

March 2016 KATHY KISSIK and DAVID FREDRIK

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


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

Photography Based Mixed Media Collage by Kathy Kissik

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

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

DAVID FREDRIK

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

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

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

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

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

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

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



KAREN COLANGELO

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

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

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

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






Lloyd Arbour

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

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

"Under-Texting"

Marcel Guldemond is a breath of fresh air; 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.  

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.  

Artist Statement 

Undertexting describes a new art making process I've developed, as well as the idea that we

as human beings use stories to understand everything in our lives; that the cultural context of

everything we've read and watched and listened to forms the underlying context of almost

every moment that we live.

One could also say that undertexting is about the relativity of meaning, that all meaning is only

ever understood within a cultural context, and how that cultural context is formed by the

stories we consume. [One could also say that it's about how the background context of how

we understand things is often a jumble, but that might just be a reflection of the disarray in my

own mind.]

As a art making process, Undertexting starts with a layer of torn photocopies of pages from

my favourite books, mostly novels, that I paste on to the panel over top of the original

drawings. I then paint on top of that with thin layers of paint (much thinner than I'd been using

in the past) allowing you to see some of the underlying text, making that cultural context more

explicit and part of the visual story.

Undertexting is a new art making process for me not only because of the underlying layers of

text, but also because I've completely changed how the paintings look: I've begun to explicitly

incorporate things from my background in comics. These include the use of inset panels,

which I'm using to show key scenes in the stories the paintings are describing, and the use of

more abstract line and flat colour based backgrounds, which set the emotional contexts and

the settings for the stories they tell.

When people would ask me what my paintings were about before Undertexting, I usually said

that they were scenes from imaginary novels, or what it felt and looked like to be in an

imaginary novel. These new paintings that make up Undertexting are, with their underlying

layers of text and their use of visual storytelling elements from the comics medium, even more

about scenes from, or being inside of, imaginary novels. I hope you enjoy them.

- Marcel Guldemond