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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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FrameWork 1/23

Emilie Croning on Together / Apart

It’s like that feeling when a gust of wind hits the curls at the nape of my neck on a hot summer day as I walked between Rebecca Bair’s two larger-than-life prints of Type 3 coils - the fabric dancing in the breeze carried by my stride. Placed against bright blue and yellow backgrounds respectively, each image acts as a textured and vibrant path guiding you through.

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FrameWork 11/22

Jonathan Scott on Callings—

From Notes for a diagrammatic postscript:

… the infinite / finite relation carries back the resonance of Pearky PinkTM (7) - an upper scale shift doubles (…….24,000.) Lower level – increase application twice over (23).



TM I propose considering every art form in terms of principles of sufficiency and no longer in terms of descriptive or theoretical or foundational historical perspectives. To do this, one must construct non-aesthetic scenarios or duals, scenes, characters, or postures that are both conceptual and artistic and based on the formal model of a matrix. Laruelle, 2012.

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FrameWork 10/22

Mathilde Varanese on Patrick Howlett

Tennis makes my spleen swell and
clay courts sprained my optimism.

J’essouffle mes jambes à collectionner ses rebonds. Il défile les services avec l’ardeur d’un lance-balle automatique défectueux. Derrière la ligne de fond, j’emporte les reliques de ses frappes.

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FrameWork 5/22

Sandra Meigs on
Sameer Farooq & Beth Stuart

Vision and Emptiness

In meditation any one of the senses can be a doorway to awareness. Vision can be a very powerful one.

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FrameWork 4/22

Sabrina Tarasoff on Zin Taylor

A List:

Groovy things
Brain fry
Snowballs
Stress balls
Simple Simon sentences
The Alberta Void
Magical Thought
Big Dicked Hippy
Exclamation Marks
Mobiles

“Wands”

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FrameWork 3/22

Parker Kay on
Meech Boakye and Gareth Long

In 1972, Bill Withers wrote the billboard-topping song “Lean on Me” that was inspired by his recent move to Los Angeles and the lack of community he felt in the city in comparison to the memories of togetherness he experienced in his hometown of Slab Fork, West Virginia.1

Lean on me
When you’re not strong
And I’ll be your friend
I’ll help you carry on... 2

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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