: Exhibitions

Darkening Ground

April 13 - May 11, 2019




Opening Reception: Saturday, April 13th from 2 - 4 pm (artists in attendance)

April 13 - 27: Immersive Camera Obscura installation by Angela Snieder


Darkening Ground is a two-person exhibition of print and installation works drawing from alternative lens-based processes. With ecological unease informing their work, Snieder and Wedderspoon look to the ground, or even the dirt, as a malleable surface that both remembers and forgets, preserves and erodes. Revealing constructed natural spaces, Snieder’s prints and analog projections engage with questions of truth and artifice related to experience, perception and photo-based technologies. Raising questions about human and non-human agency, Wedderspoon uses a flatbed scanner to capture enlarged compositions of objects found on the ground, heightening the tension between intellectual and emotional responses to ecological crisis.

Amuse - Bouches & Mintz

November 15 - December 30, 2018

Opening Reception: Thursday, November 15 7 - 9 pm Artist in attendance Artist Talk Saturday, November 17 @ 3 pm Artist Talk Saturday, November 17 @ 3 pm

Forth and Back

September 29 - October 20, 2018

In her upcoming exhibition, Forth and Back, Loree presents a series of pairs of paintings that continue her exploration of the opposing forces of freedom and constraint. In each pair, one of the paintings displays the artist’s typically unrestrained, intuitive approach, while the other demonstrates an attempt to replicate the composition of the first – a highly constrained, pre-determined experiment. What began as a playful exercise became a purposeful analysis and deconstruction of a previously instinctive method. In challenging herself to duplicate the marks and painterly accidents observed in the first painting, Loree had to significantly deepen her understanding of her materials and processes. In pausing to reflect on and identify the nuances within her painting process, a number of questions arose for the artist: How does one replicate a gesture in an authentic way without the work feeling contrived? What are the relative benefits of the planned and the unplanned? Where is the border between premeditation and contrivance? How does one engage with and find meaning in the repetitive and the predictable? Is it possible to simultaneously refine and expand a work of art? In deliberately concealing the order of the paintings, Loree leaves the viewer to compare and contrast their differentiating elements, and to speculate on the correct ordering of each pair. Through the necessary extended viewing, Loree hopes to induce a meditation on the force/flow dichotomy similar to her own.

Fields I Figure

April 06 - April 24, 2018

Opening Reception: Friday, April 6 7-9 pm Q & A Saturday, April 7 @ 3 pm

sculptures at an exhibition

November 17 - December 03, 2016

The wordplay of Clay Ellis’ title, “Sculptures At An Exhibition”, carries more meaning than a simple reference to Modest Mussorgsky’s “Pictures At An Exhibition”. Ellis’ approach to making art is anything but simple, and extends well beyond the irony of associating his latest exhibition with the 10-movement piano piece that itself was inspired by an art exhibition.


February 11 - March 01, 2016







' Topographies '  -  Graham Peacock at 70 


Opening Reception

Thursday, February 11 

7 -9 pm

Artist in attendance 


I paint topographically, flat on the floor, and compose colour and surfaces by pouring paint over collage. By manipulating and inducing and shrinkage in the paint skins, I create the formations you see before you. My paintings closely resemble the Earth’s surface in the way it was formed, when matter was irrupted and land and sea found their equilibrium.  Some also look like magnified microorganism, as they are formed by a natural rheological process and invite chance behavior of and seeming chaos. All of this under my orchestration and my stewardship.


In 1981-2, I discovered this new way of painting, and the potential I found within this ‘paint crazing process’ has led me to explore both regular and irregular shaping, collages and prints using these ‘natural’ formations as the starting point for my work. In this exhibition, in some works I am again composing within the rectangle for the first time since 1987.   This way of painting is my approach to ‘pure painting’; painting that is generated directly from the process and act of painting itself. Each painting beginning as a considered hypothesis, an act of discovery, and a challenge of resolution.


Although my painting may be referred to as abstract, my work is representational, although perhaps not in the tradition sense, it is so, by the associative imagery it contains.

My inspiration comes largely from art, travel, life encounters and my past work.    I usually start with imagining and compose a visual hypothesis, then formulate paint, pour, manipulate and dry my compositions, changing and guiding them to a conclusion.   Each work, although initially ‘composed ’, has a high degree of ‘random’ built into the painting process, allowing me the freedom to capture what’s best, as the work develops.   Once dry, I edit, crop and adjust each work on the wall, before and after stretching, until it becomes a unified reality.  Since the mid 90’s I have been employing the arabesque, in various ways, as a unifying and compositional motif.  In these works the collage and canvas twists together with painted bands, modeling and shading all contribute to the spatial illusion of the painting.


It is a pleasure to show this work with Peter Robertson I hope you enjoy this exhibition




in the we manner

September 11 - September 30, 2014

According to the artist: The exhibition “in the we manner” represents a mix of images, patterns, and forms derived from previous work, which for some reason, I have safeguarded. The pieces in the exhibition are perhaps more of a collaboration between present and past, than a remix.”

James Olley

March 08 - March 25, 2014

James Olley : Between the Gaps

simple equations, sticks, and mascots for dirty little cities

February 16 - March 06, 2012

Ellis’ confounding of sculptural and illusionistic space becomes ever more complex in his most recent body of work. Innovations in his process allow the physicality of paint to become more evident, while keeping the maker’s hand relatively obscured. We encounter the work first as objects in space rather than contained instances of expression. Visceral protrusions convolute fictitious spaces of graphic, high chroma form and pattern, all bound by various sculptural and drawn framing devices. Ellis is interested in the way we swiftly navigate shifting modes of perception in our contemporary image rich world.

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