These paintings, which are for coloured electric light, are not paintings of anything, and with the abandonment of the subject (architectural, natural) that had persisted in Hutchinson’s work until now, perspectival space within the painting is displaced by compositions based on an isometric grid whose size is determined by that of the brush that will be used.

When Côté set out to make The Chorus, I understand he was looking for a way to gauge the enormous transformation that has taken place in China since the era of Mao.

Works in Waters’ new exhibition ROTOZERO are not homogenous: they comprise, he says, a kind of garage sale—fragments of experience.

Faith La Rocque’s work takes shape from an unexpected mix of skepticism and belief. It arrives through the excavation of material histories and discovering the vagaries of cultural value they accrue over time.

Despite their reductive appearances, Groombridge’s work holds an indexicality or reference to the real. The forms are not entirely arbitrary; they are rooted in sources—facts, data, measurements; some common, some not—or a system of his own devising. There’s a there there—you just need to look harder to see it.

Regardless of the efficacy of my interpretation, its relevance is only warranted by that which eludes writing. After all “meaning,” according to Brian, is probably overrated. I undertake this writing exercise because I admire Brian’s character and his work.

Comprised of woodcut prints, shaped and pleated paper elements, and puppets that the audience is invited to move around via a system of wire tracks, the impression conveyed by the installation is of a story that both unfolds as a narrative around the perimeter –thus implying the progression of time– while it also exists as an absorbing and immersive experience in the present moment.

As I stood with Jaime Angelopoulos inside her studio, it was admittedly difficult to concentrate. Trains of thought kept running away from me, questions on the tip of my tongue suddenly dissipated from memory.

This multimedia presentation explores the construction of narrative and its effect on the notion of site through the production of a mock-documentary and fan-film, which serves as an anchor for the sculptural elements and detailed drawings that accompany it, weaving together fictional elements with theoretical research on the nature of the universe.

Multidisciplinary artist Julie Lequin’s latest piece, Top 30, presents her personal take on the ups and downs of aging. From her childhood in the small town of Sorel, Quebec to her graduate years in California, Lequin examines her past with nostalgia and a good dose of humour.