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FrameWork 5/24

Blair Swann on Derek Sullivan



Drapery of seeds, furniture of husks,
the layers of knots – a library –
gathered at the pace of our walking.

This feeling – of being scattered –
holding a brittle fossil still of bark or bone –
a yet-upturned rock, waiting, sacred.

...

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FrameWork 4/24

Ella Spitzer-Stephan on Plural

The definition of a mixture is;

a product of mixing: Combination: such as

A: a portion of matter consisting of two or more components in varying proportions that retain their own properties.
B: a fabric woven of variously colored threads.
...

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FrameWork 3/24

Lodoe Laura on Zinnia Naqvi and Althea Thauberger

One of the first jobs I worked when I moved to Toronto was at the CN Tower. Ostensibly, I had moved to the city to go to University, but really, I mostly just wanted to leave the smaller city I came from, where the well-known joke was that everything shuts down at 6 pm – after the government workers went home. As a young adult living on my own, I was excited by the lights and buzz of the big city, and everything felt new. There was an energy about this place, and, to me, the CN Tower was the most recognizable symbol of the city. I felt excited to work at a place so impressive and iconic.
...

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FrameWork 2/24

Yasmin Nurming-Por on Gareth Long

Notes on how to be alluring

A lenticular print is, at its most basic, a form of dense compression. With semi-circle lenses like serpentine undulations, light ricochets off their surfaces into the pupils of each viewer. No two people experience the identical image. Our eyes catch a flicker before it disperses and dissolves into another which can lead to a vicious cycle of chasing the original encounter. Taking form from material, Gareth’s watery lenticulars–of Fogo Island and the Delaware River–are visual phantoms.
...

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FrameWork 12/23/2

Masi Oliveria on To pluck eternity ...

Here I am, deep in the cyber jungles of Google, stalking artists for Patrick Cruz’s group exhibit in Canada. I dive in and search the first name on the list, clicking through images like a woman possessed, reading texts with the enthusiasm of a caffeine-fueled detective hot on the trail of a crime scene, or I should say, art scene.
...

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FrameWork 12/23/1

Bianca Weeko Martin on Patrick Cruz

Inn On The Park

When my parents and I first immigrated to Canada, the first place we lived was a hotel called Inn On The Park: a soft landing on a small hill, on the threshold of Scarborough and Toronto. We stayed here for a few weeks before moving to an apartment at Kennedy and Eglinton. There is now a condo tower at the site of the now-demolished hotel, sharing the same address as that first “home” of ours: Inn On The Park Drive.
...

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FrameWork 11/23

Ana Ghookassian on Kevin Yates

Walking through the front door at Susan Hobbs, I’m faced with an absence of colour, yet somehow presented with an abundance of life. The sizable figures, floating in their deserted Vantablack 3.0 worlds, though captured in a helpless state often with their eyes closed and palms open, are clearly still alive. Perhaps this is thanks to our shared contextual knowledge of the ‘Damsel in Distress’ tropes and our innate familiarity with that subtext from a once overused crescendo in pop-culture.
...

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FrameWork 9/23/2

Weiyi Chang on Liz Magor

Eclipse

She left on a Tuesday. What was she wearing? It doesn’t really matter. It was raining. Plump, tired drops collided into the windows, cutting wide wet welts through the condensation. Water puddled on the ledge, seeping between the frame and the flaky paint. The house was poorly sealed. All manner of things managed to worm their way through the cracks.

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FrameWork 9/23/1

Anna Daliza on Jeremy Laing

In the first known version of an unreleased song called My Forever by SOPHIE, the lyric, “Everybody’s got to own their body” repeats endlessly on top of a pulsing bass and ethereal synth rising with momentum, until the words lose their meaning, or transcend it. This phenomenon, when a word or phrase is repeated so many times its sound is divorced from its meaning, is called semantic satiation. Quite literally, the uncreation of meaning.

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FrameWork 6/23

Michael Thompson on Sandra Meigs

April 1, 1867 saw the opening of Exposition Universelle de Paris, the city’s second major world’s fair, and an event that would welcome over 15 million visitors over its seven-month run. This, at a time when Paris’s census population hovered somewhere just shy of 2 million. Some 50,000 exhibitors took part in the fair, showing an unfathomable array of artifacts, fantasia, industry, and oddity from the natural and technological worlds. And while these labels and categorizations have shifted greatly today, one thing at the forefront of societal production for the time retains a similar intrigue and curiosity today; a then-newly minted practice called taxidermy.

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FrameWork 5/23

Philip Leonard Ocampo on
Oliver Husain and Malik McKoy

The glitches in our matrixes



EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT
Scottie looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT
From Scottie's viewpoint, the gap beneath the building and the ground below. It seems to treble its depth.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP
Scottie looking down with horror. His eyes close as a wave of nausea overcomes him.

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FrameWork 3/23

Erica Stocking on
Rhonda Weppler and Trevor Mahovsky

A Visit

I brought your hands in my pockets to see The Pool in the Shell.

I didn’t want to inconvenience anyone by bringing along your whole body. Sometimes it is preferable to be discreet. Sometimes detachment allows one more flexibility.

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FrameWork 2/23:2

David Court on Katie Bethune-Leamen

A whole that is also parts: Katie Bethune-Leamen in conversation with David Court

David: The description of your exhibition notes that it brings references to historical domestic languages of geometric abstraction into the space of the gallery. It occurs to me that there are often allusions to the domestic in your exhibitions, but they do appear more overt, here, in the spritzdekor/red work stencil and plates? Were those elements the engine of the development of this body of work?

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FrameWork 2/23:1

Fan Wu on Yan Wen Chang

32 Failed Fouettés Ad Nauseam (for Yan Wen Chang)

I am searching for an origin story that’s athletic enough to bear the momentum of the life that came after.

In the beginning there was black and white with no baggage nor moral valuation: just the hard, simple fact of contrast – a first awareness of difference.

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A Viewing Room v.4


For our presentation at Art Toronto 2019, we collaborated with Klaus, on a continuation of our project series entitled A Viewing Room, in which we investigate the relationship between design and art; how design and domestic objects interact alongside artworks and how one can highlight the other. Please visit the website www.aviewingroomv4.com