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Catriona Jeffries Gallery: Catriona Jeffries Gallery at The Toronto International Art Fair - 2 Oct 2008 to 6 Oct 2008

Current Exhibition

2 Oct 2008 to 6 Oct 2008

Catriona Jeffries Gallery
274 East 1st Avenue,
V5T 1A6
Vancouver, BC
North America
p: (01) 604 736 1554
f: (01) 604 736 1054

Damian Soapstone
Caryatid Marquette and Painting in Studio, 2008
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Catriona Jeffries Gallery

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Artists in this exhibition: Arabella Campbell, Geoffrey Farmer, Myfanwy MacLeod, Gareth Moore, Damian Moppett, Alex Morrison, Jerry Pethick, Kevin Schmidt, Ron Terada, Ian Wallace

The Toronto International Art Fair
Metro Toronto Convention Centre, North Building, Exhibit Hall A & B
October 2 - 6, 2008

Catriona Jeffries Gallery
Booth 730

Catriona Jeffries is pleased to present work by Arabella Campbell, Geoffrey Farmer, Myfanwy MacLeod, Gareth Moore, Damian Moppett, Alex Morrison, Jerry Pethick, Kevin Schmidt, Ron Terada and Ian Wallace at the 2008 Toronto International Art Fair.

The installation represents two distinct strategies evident in the working practices of the gallery’s artists. One group of artists can be linked to the history of conceptual practices in Vancouver that began in the late 1960s under Ian Wallace and the other is marked by a history of sculptural, scientific and phenomenological exploration within photography and found material installation, evident in the work of senior artist Jerry Pethick. The TIAF installation puts forward the generational distinctions and resonances between conceptual and post-conceptual practices and the contemporary currents that have surged out of these histories.

Historically preceding an important moment in contemporary sculpture and installation, Jerry Pethick represents a divergent approach, with a strong focus on materiality and optics of spatial perception within his wall and sculptural work. This presentation runs concurrently with his solo exhibition at the Catriona Jeffries Gallery in Vancouver. Pethick acknowledges and yet shifts the conditions of production and commodity culture through the re-configuration of claimed industrial and domestic materials and turns his attention to photography as a means for understanding optics and perceptual reality. Huddled at the entrance to the booth, Geoffrey Farmer’s new illuminated sculptural figures link with Jerry Pethick and Gareth Moore works inside – work that similarly attends to the formation of meaning through the materiality of found and autobiographical objects. Farmer’s new work follows ideas and forms that have been manifested in a forthcoming installation at the Brussels Biennale and a major project for Caught in the Act at the National Gallery of Canada. Gareth Moore’s collected photographic works from his Gordon Rowan series and his hand-sewn leather breeches reflect his intensive exploration into relational projects which work to dislodge distinctions between art and life by positioning art in relation to human activity.
In anticipation of six major European Ian Wallace exhibitions this fall, the gallery will exhibit a large scale New York intersection diptych at the TIAF that engages the graphic urban landscape and explores the interplay between abstract and real imagery. Also on view, images of the studio from 1989 and crosswalk street scenes convey the persistency of Wallace’s conceptual practice. Exhibited for the first time, a grouping of seven new oil on linen paintings by Damian Moppett explore the extent of the medium and its history. In this series the caryatid figure, defined by its dual function as a support system and a sculptural form, continues to break down into further abstraction, becoming one of many working forms in the artist’s studio. Through the re-appropriation of a popular culture phrase and commercial signage in a recent neon work Ron Terada dematerializes the object and the image in a nod to conceptual practices. His large scale photographic works of young Maikos (Geisha’s in training), graphically connected to Wallace’s diptych, also speak to commercial advertising formats, the excesses of consumer culture and questions of “looking” in the history of Western art.
Arabella Campbell’s diverse exploration of media through sculpture, painting and photography delves into the historical significance of the monochrome and the cube, calling attention to the ideological underpinning of the exhibition system and the medium itself. Linked to his recent video projects, Kevin Schmidt’s photographic work Aurora with Roman Candle investigates popular culture and sub-culture tendencies while reflecting on notions of the landscape and the sublime. As part of his exploration of the academy and its relationship to notions of freedom, in a 2007 drawing and painting Alex Morrison de-centers his subjects by recalling idealist moments within counter-culture through the staging and re-interpretation of history. Similarly, Myfanwy MacLeod’s referential collage drawn from popular culture imagery, Old Drunks Never Die, is embedded with tongue and cheek narrative.

Booth Design
Moving Panel Arrangement # 2, Robert Kleyn Architect

Forthcoming :
Jin-me Yoon: 30 October – 29 November, 2008
Gareth Moore | 16 January – 14 February 2009
The Armory Show | 4 – 8 March, 2009

For more information contact Charo Neville or Catriona Jeffries at (01) 604 736 1554.

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