....Winnie Truong & Shanie Tomassini | As Above, so Below | 10 OCTOBER - 16 November 2024

When it comes to the natural world, a focal point for both artists, change takes the shape of devastation, one accelerated by human crowding and the fatal negligence of the few who stand wobbling at its top. It requires denial or real acceptance to continue making art under the psychic duress of that reality. Truong and Tomassini are noble practitioners of the latter. While their works evince beauty, they also manifest gloom; and it is in the site of their imagination, and in the obvious force of it for both of them, where opposites are reconciled and get translated into something singular.

• excerpt from the exhibition text by Rosemary Flutur 

..Winnie Truong & Shanie Tomassini | As Above, so Below | 10 OCTOBre - 16 Novembre 2024

Lorsqu’il s’agit du monde naturel, point central des deux artistes, le changement est dévastateur, accéléré par la surpopulation humaine et la négligence fatale des quelques individus vacillant à son sommet.
Le déni ou l’acceptation véritable est de mise pour continuer à faire de l’art sous la contrainte psychique de cette réalité. Truong et Tomassini sont de nobles praticiennes de cette dernière. Si leurs œuvres évoquent la beauté, elles témoignent également de la mélancolie; et c’est au sein du terreau de leur imagination, ainsi que dans la force évidente de ce dernier qu’on retrouve en chacune d’elles, où les contraires se réconcilient et se traduisent en quelque chose de singulier.

• extrait du texte d’exposition par Rosemary Flutur 

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....MARIA HUpfield | MAshkiki is movement | 19 October - 23 November 2024

Opening Reception: Saturday, Oct 19 (3pm – 5pm)

Hupfield’s vision in the Mashkiki collection, rooted in the land and extending through the body and movement, challenges and inspires new ways of thinking about Indigenous fashion. Mashkiki is Movement transcends a typical fashion collection, evolving into a sculptural reflection on the deep relationship between Indigenous designers, the land, and space. Hupfield uses fashion not only as a form of visual expression but as a vessel for storytelling, community, communication, and the body’s profound connection to the land.

• excerpt from the exhibition text by Amber-Dawn Bear Robe

..MARIA HUpfield | MAshkiki is movement | 19 OCTOBRE - 23 NOVEMBRE 2024

Vernissage: le samedi 19 octobre ( 15h à 17h)

(Texte anglais uniquement disponible)

Hupfield’s vision in the Mashkiki collection, rooted in the land and extending through the body and movement, challenges and inspires new ways of thinking about Indigenous fashion. Mashkiki is Movement transcends a typical fashion collection, evolving into a sculptural reflection on the deep relationship between Indigenous designers, the land, and space. Hupfield uses fashion not only as a form of visual expression but as a vessel for storytelling, community, communication, and the body’s profound connection to the land.

• extrait du texte d’exposition par Amber-Dawn Bear Robe

....

....ISABEL OKORO | COLOUR AND FEEL | 19 October - 23 November 2024

Opening Reception: Saturday, Oct 19 (3pm – 5pm)

Colour and Feel examines the interplay between colour and emotion by presenting photographs and paintings through a monochromatic lens to explore how each hue may alter our emotional perception of the image. This series also considers the reciprocal influence of our own emotional state on the meanings we ascribe to these colours. The work invites a simple question: does colour influence how we interpret emotion, or does our emotion influence how we see colour?

..ISABEL OKORO | COLOUR AND FEEL | 19 OCTOBRE - 23 NOVEMBRE 2024

Vernissage: le samedi 19 octobre ( 15h à 17h)

(Texte anglais uniquement disponible)

Colour and Feel examines the interplay between colour and emotion by presenting photographs and paintings through a monochromatic lens to explore how each hue may alter our emotional perception of the image. This series also considers the reciprocal influence of our own emotional state on the meanings we ascribe to these colours. The work invites a simple question: does colour influence how we interpret emotion, or does our emotion influence how we see colour?

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