The Winds That Will Be Howling
鈥淭he Winds That Will Be Howling鈥� interrogates our relationship with nature and the environment. The exhibition鈥檚 title is lifted from William Wordsworth鈥檚 鈥淭he World Is Too Much with Us鈥� where our dominating presence as supposed guardians and keepers of the natural world is challenged and deemed deleterious. Hence, the works of Meghan Hildebrand, Geremy Samala, Imam Santoso, and Nasser Lubay are prompts that demand us to reflect on this power we have.
Hildebrand鈥檚 paintings illustrate Canadian landscapes into 鈥榮tory-maps鈥� that stir the imagination. In her works, nature, unlike humans, is limitless and endless; every turn opens to another path where one鈥檚 mind can navigate. Hildebrand initiates symmetry on these compositions; certain areas in the paintings are mirrors or portals that lead us to another part of a forest, mountain, or ridge.
On the other hand, Samala uses geometric guides in producing works that address structural concepts in time and space as elements in his paintings. The images produced are symbolic of our relationship with nature in the post internet era, thus, controlling our perception of the environment as part of our routine through photos, designs, and architecture.
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鈥淭he Winds That Will Be Howling鈥� interrogates our relationship with nature and the environment. The exhibition鈥檚 title is lifted from William Wordsworth鈥檚 鈥淭he World Is Too Much with Us鈥� where our dominating presence as supposed guardians and keepers of the natural world is challenged and deemed deleterious. Hence, the works of Meghan Hildebrand, Geremy Samala, Imam Santoso, and Nasser Lubay are prompts that demand us to reflect on this power we have.
Hildebrand鈥檚 paintings illustrate Canadian landscapes into 鈥榮tory-maps鈥� that stir the imagination. In her works, nature, unlike humans, is limitless and endless; every turn opens to another path where one鈥檚 mind can navigate. Hildebrand initiates symmetry on these compositions; certain areas in the paintings are mirrors or portals that lead us to another part of a forest, mountain, or ridge.
On the other hand, Samala uses geometric guides in producing works that address structural concepts in time and space as elements in his paintings. The images produced are symbolic of our relationship with nature in the post internet era, thus, controlling our perception of the environment as part of our routine through photos, designs, and architecture.
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