An Assembly of Shapes
An Assembly of Shapes brings together the work of nineteen Canadian artists鈥攂ased both locally and internationally鈥攚orking in and around painting. The works in this exhibition demonstrate a rigorous engagement with the formal freedoms of painting, addressing the stakes of creating and circulating images in our current moment.
Curator and art historian Katy Siegel has noted that painting, unlike politics and writing, 鈥渃an hold in suspension different, even conflicting ideas, feelings and histories, without forcing us to choose between them." Through thoughtful consideration of subjects such as perception, politics, technology, language, intuition, and humour, the artists in this exhibition position painting as a site of inquiry鈥攁 space of porousness, a way of thinking, a mode of engaging with a world in flux.
Painting is always accompanied by a certain weight鈥攖he baggage of art history, by objecthood or 鈥渢hingness." Yet as the works in this exhibition evidence, painting is increasingly engaged as readily on strategic terms as on historical ones, highly permeable to different styles, subjects, and possibilities.
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An Assembly of Shapes brings together the work of nineteen Canadian artists鈥攂ased both locally and internationally鈥攚orking in and around painting. The works in this exhibition demonstrate a rigorous engagement with the formal freedoms of painting, addressing the stakes of creating and circulating images in our current moment.
Curator and art historian Katy Siegel has noted that painting, unlike politics and writing, 鈥渃an hold in suspension different, even conflicting ideas, feelings and histories, without forcing us to choose between them." Through thoughtful consideration of subjects such as perception, politics, technology, language, intuition, and humour, the artists in this exhibition position painting as a site of inquiry鈥攁 space of porousness, a way of thinking, a mode of engaging with a world in flux.
Painting is always accompanied by a certain weight鈥攖he baggage of art history, by objecthood or 鈥渢hingness." Yet as the works in this exhibition evidence, painting is increasingly engaged as readily on strategic terms as on historical ones, highly permeable to different styles, subjects, and possibilities.
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