Vernissage: Thursday, April 28 at 6:00 pm
Exhibition: April 29 to May 21, 2005
Exhibition Press Release:
The McClure Gallery is pleased to present an exhibition by Montreal artist Éric Le Ménédeu. Rain Expected at the End of the Day combines oil paintings of varying sizes created since 2001, with a series of recent charcoal and oil drawings, rapid studies based on memory.
For the last several years, Éric Le Ménédeu’s painting practice has focused on the representation of cloud-filled, moving expanses of sky above thin bands of landscape. Loosely inspired by photographs taken during his travels – discreet moments gathered in passing – the works often recall the plains and rivers of his homeland.
The fluidity of the elements of air and water and their ungraspable, perpetual movement become symbols of transition, change and exile, a metaphor for the passage of time and childhood nostalgia. Waiting for the rain implies a hope for renewal, for regeneration. Through his paintings, Éric Le Ménédeu gives us an occasion to stop and contemplate. This is his calm and slow response to the world that surrounds us.
Éric Le Ménédeu was born in Paris, France in 1962. A graduate of the École Nationale Supérieure des Arts Décoratifs (Paris), he has lived and worked in Montreal since 1994. He was the recipient of the 2001 3rd Annual New Canadian Painting Competition for Eastern Canada. His work can be found in several important corporate collections including those of Alcan, Gildan and Royal Bank. Éric Le Ménédeu is represented by Mira Godard Gallery in Toronto.
Vernissage and Gala Evening: Thursday, May 26 at 6 pm
Exhibition: May 27 to June 18, 2005
Artist’s Talk: Thursday, June 2 at 7 pm
Exhibition Press Release:
The McClure Gallery is pleased to present an exhibition of recent oil paintings by Montreal artist Anne Ashton. Ashton’s work explores the strange and mutable beauty of the natural world. Garden of Joy was a jazz and blues club in 1920’s Harlem. The botanical paintings in this exhibition were inspired in part by the music of that era, and the flowers’ somewhat suggestive shapes have been renamed using the vernacular of the Dirty Blues.
The paintings depict flowers and plants both out of context and out of scale, and are rendered with many layers of translucent oil paint and much detail. Ashton paints on small wooden panels that often incorporate vintage frames. The frames are not always able to contain the imagery, which tends to push its way beyond the confines of the painting. The flowers are portrayed in various stages of bloom, while insects wander here and there.
Ashton seeks to incite the viewer to look more closely both at the paintings and at the natural world itself, including those elements that are often dismissed as useless, unlovely or dangerous. By emphasizing individual peculiarities, she hopes to offer a way of looking at our planet’s systems and inhabitants with a more open, curious and compassionate eye.
Anne Ashton was born in San Diego, California and studied visual art and literature at San Diego State University and the University of California at Santa Barbara. She has worked at the San Diego Museum of Natural History and at the National Film Board of Canada. A founding member of Montreal’s Galerie Clark, she has had solo exhibitions in Quebec, Ontario, Newfoundland, Alberta and Arizona, most recently at Oboro in Montreal in 2004. Her work is part of public collections including the Musée des beaux-arts du Québec, the Tom Thompson Memorial Art Gallery and the Canada Council Art Bank, as well as corporate and private collections in Canada and the U.S. She lives and works in Montreal.
Vernissage: Wednesday, June 22 at 6 pm
Exhibition: June 23 to July 16, 2005
Exhibition Press Release:
The McClure Gallery is pleased to present an exhibition that celebrates nine years in the career of Montreal born artist Dorothy Stewart. The exhibition features eight large acrylic paintings on canvas along with smaller works on paper, produced between 1995 and 2004. Stewart’s work references interior and exterior space, resulting in evocative poetic compositions that bring together large colour fields with forms that recall cubist investigations of the still life.
Dorothy Stewart writes, “Today, we are so attuned to non-objective art that we are geared to looking not for meaning in the recognizable, but reading feeling and then making associations with what the abstract artist has set down. Colour ascribed to particular shapes should then sharpen a viewer’s response or even strike an ambiguous note…It’s all to do with relationships.”
Dorothy Stewart was born and raised in Montreal. She graduated with honours from the School of the Museum of Fine Arts in Boston where she won scholarships for Best Woman Painter and First Prize, Painting. For the first half of her career she lived and worked in Montreal. In the late 1970’s, Dorothy moved to New York, where she spent 20 years painting and exhibiting. She participated in numerous group shows as far afield as Japan, United Arab Emirates, and Spain. Recently, she returned to Toronto where she continues to paint.
Full Circle Mandala Project Meeting in the Middle for Peace in the Middle East
Vernissage: Thursday, August 4 at 6 pm
Exhibition: August 5 to 27, 2005
Exhibition Press Release:
The McClure Gallery is pleased to present a mixed-media exhibition in collaboration with the Montreal Dialogue Group and the Full Circle Mandala Project that features the collective works of Jews and Palestinians/Arabs who are actively engaged in finding the human in the “other”.
Meeting in the Middle for Peace in the Middle East is an exhibition based on an intercultural exchange with an emphasis on peace, through mutually supportive Arab/Jewish relationships. The project is meant to bring awareness to spiritual, humanitarian and social issues through the participants’ personal stories told in writing, painting, sculpture, photography and mixed media.
A group of Montreal Jews and Palestinians/Arabs, some artists, some not, collaborating for the first time, created a collective artwork in the form of mandalas (symbols of sacred and structural unity). The mandalas are constructed from a wide variety of materials, including paper made from Israeli and Palestinian newspapers, newspaper clippings, family photos, mementoes and bits of journals. The participants also cast their hands and faces to create sculptures that express the immediacy of their physical and emotional involvement in the stories they have recreated.
This project was initiated by Helga Schleeh (artist, director of the Full Circle Mandala Project and Visual Arts Centre faculty member), and Nada Sefian and other members of the Montreal Dialogue Group.
With special thanks to Engrenage Noir, the CRB Foundation and the Canada Council for the Arts for their generous support.