• 05
  • 6
  • 7
THE NEXT 7 DAYS:     EVENTS (18)     +     OPENINGS (12)     +     DEADLINES (10)     +     CLOSINGS (12)
copyright ©2018

back [+]

2012 Visiting Artists Residency Exhibitions
Mark Crofton Bell: More Sad Presentiments of What Must Come to Pass
Catherine Lane: Farm
May 25 – June 23, 2012

Artist Talks with Mark Crofton Bell & Catherine Lane: Friday, May 25, 6-7 pm
Opening Reception: Friday, May 25, 7-9 pm

Open Studio is pleased to present the first of two 2012 Visiting Artists' Exhibitions featuring Toronto-based artists Mark Crofton Bell and Catherine Lane, May 25 – June 23, 2012. Each year, Open Studio selects four professional artists with or without printmaking experience to create works in the print medium of their choice, working closely with a professional print artist to realize their projects. These exhibitions by Bell and Lane are the result of this intensive work period.

Top: Mark Crofton Bell, Crime Spree, aquatint, sugarlift, and open bite on paper 8" x 12", 2011. Printed by Laine Groeneweg under the auspices of the Open Studio Visiting Artist Residency, 2011-12; Bottom: Catherine Lane, detail from the Farm Series, screenprint on paper 30" x 22", 2011. Printed by Daryl Vocat under the auspices of the Open Studio Visiting Artist Residency, 2011-12.

Mark Crofton Bell has long used media imagery culled from newspapers, and in his first foray into printmaking he continues this trajectory. Inspired by his interest in how the narrative of a photograph shifts once it is rendered in a different medium and separated from explanatory text, during his Visiting Artist Residency at Open Studio, Bell has created a series of aquatint prints based on newspaper photographs, which distill the current state of the world into a cross section of images. Despite attempts at accuracy, there are inevitable imperfections inherent in the translation process; imperfections that are a result of allowing the etching process to dictate as much as possible the outcome of the final image. The various constraints of etching tend to emphasize this (mis)translation, resulting in prints that, although similar to the original source material, remain independent of it. A text by Katie Bethune-Leamen accompanies the exhibition.

Through the use of drawing-based installation, Catherine Lane focuses on the idea of the multiplicity of fragmented storytelling, where connections and conclusions are not definitive, but where the focus is instead placed on the numerous possibilities of what the story can be. During her Visiting Artist Residency at Open Studio, Lane has created Farm, a series of prints wherein an image of a barn structure acts as the base for each individual print. Providing a setting for the narrative, the barn serves as the one constant, over which multiple images/fragments of the story are printed. While the barn exists as a fixed point in time, the images around it occur at various moments in the narrative timeframe, collapsing in on one another, yet anchored to a single location. The narrative information given varies from one print to the next and allows for interpretive variation. A text by Sholem Krishtalka accompanies the exhibition.

Showing Concurrently

Daryl Vocat & Peter Kingstone, Every Time We Played House, I Wanted to be the Pet Monkey, screenprint, 22" x 30", 2010.

Daryl Vocat & Peter Kingstone: Sissies and Psychopaths
George Gilmour Members' Gallery
Presented in partnership with the 22nd Annual Inside Out Toronto LGBT Film Festival

Sissies & Psychopaths is a collaborative suite of prints examining popular representations of queer sexuality through a child's eyes. These screenprints are evidence of a conversation between artists Kingstone and Vocat — responding to one another in a playful manner, addressing their histories and understandings of growing up and developing a queer sensibility. From dragons and death metal, to disco balls and pin-ups, a varied world of queer archetypes emerges. By adopting pop culture imagery as their own, the artists suggest that queerness is as much about an understanding of the world as it is about sexual identity.

Left: Rose Hirano, Obscured, woodcut on Fukunishi Udagami paper, 11" x 16", 2009; Right: E.J.(Ted) Howorth, Vermilion by Dawn, image size 6" x 8", mezzotint/chine collé, 2012.

Rose Hirano: Along the Grain
E.J. (Ted) Howorth: Off My Rocker
Print Sales Gallery

Presented as part of the Washi Summit

Rose Hirano's works are pages from a visual journal — a log of ideas and points of view using images instead of words. Searching for balance and personal peace draws Hirano to the simplicity of abstracted imageries using a muted palette. She is drawn to bare trees, which are akin to observing the true nature of people: the way they truly are - unadorned and without pretense. She is equally intrigued by reflections, which impart what only appears to be – on the surface.

E.J. (Ted) Howorth has, in the past year, traveled to a number of print shops in North America and Europe. As a result, his work has had to be very portable and he's chosen to work on small copper plates prepped for mezzotint, using the rocker referenced in the title, which raises a burr on the plate surface that grabs ink and produces a rich, velvety black. The direct mark-making of a burnisher pulls light into this blackened world. Although not intended as a record of the artist's travels, these images are influenced by the locales and experiences of the journey.

Pawel Zablocki
Varied Editions: Open Studio Members' Online Gallery
An initiative of Open Studio's Membership Committee, this online art gallery showcases the work of Open Studio members on a rotating basis.

Open Studio gratefully acknowledges the support of the Canada Council for the Arts, the Ontario Arts Council and the City of Toronto through the Toronto Arts Council. Open Studio also acknowledges the generous support of its members and numerous foundations, corporations and individuals.


Open Studio
401 Richmond Street West, Suite 104
Toronto ON M5V 3A8
Find us on Twitter and Facebook