Art Toronto – Canada’s Art Fair
This year’s Art Toronto — the 25th Anniversary event — exuded confidence, sophistication and depth. It was great to wander the vast expanse of the Metro Toronto Convention Center and get lost in the labyrinths and eddies of unfettered display.
There were more than 100 exhibitors. Galleries from across the country were represented. I also noticed some European and South American galleries, as well as a number from our friends in the USA.
There were many people-watching opportunities!
This exhibition has the feeling of an exciting shopping mall. What follows is a tiny and utterly subjective view of the tumult of art and commerce that is Art Toronto.
I was definitely happy to see work by favourite artists, from Toronto and elsewhere.
Carol Wainio, in her signature faded, dreamy palette, continued her exploration of haunting folklore from the distant past.
There was some Witch Queer Volcanology on display in the form of one of the spectacular Fastwurms textile pieces.
I liked looking at the mysterious weapon, lifting off into the mist, by Wanda Koop.
There were many artist’s works I had not encountered previously. I had questions.
I was trying to figure out what drew the artist, Nicholas Crombach, to this particular shade of red flocking, in his wildly complex sculptural piece. Maybe its a particular representation of vitality? Or maybe he’s referencing the way precious items are sometimes tucked away in red velvet?
I enjoyed the desolate emptiness created by the painter Ulf Puder, in this large work hovering between geometry and realism.
The photo piece below, by Kris Munsya, has a cinematic feel of futuristic mutation occuring in a lush, tropical site. I want to know more!
I was in awe of this extra large lino cut print, produced on hand-made gampy paper. The giant print, by Alex Kumiko Hatanak, was part of an installation at the McMichael Gallery booth.
This photo of a house was fascinating. It looked a lot like a green monopoly piece. I learned it was part of something called the Lenora Drive Project, in which a Willowdale developer allowed artists to get creative with a half dozen condemmed bungalows.
It took me a while to figure out that An Te Liu, the artist responsible for “Title Deed,” is the same artist who makes the very appealing sculptures, shown at Blouin Division last year.
Anahita Norouzi‘s photo piece made me want to know more about this barren landscape and the spectacular explosion implanted there.
There were some special shows put together by individual curators, including a “Focus Exhibition” titled ‘the place to which we return.’ It was described as engaging viewers with ideas of “home” and what that notion means to them.
The painting above, by Marigold Santos, was part of the “Focus Exhibition.” It was quite stunning to stand before this painting and bask in the field of yellow. The painting of a corpse dissolving into a landscape, although fascinating and intricate, is almost incidental to this powerful sweep of colour.
Another piece in the Focus Exhibit is this one by Renee Condo. I’d seen the big, beautiful beadwork pieces by Renee Condo before, at the Blouin Division space. They have a joyful, high-octane buzz and effectively pull beadwork into a contemporary space.
In many indigenous cultures crows are valued for their intelligence and spiritual significance. They are seen as messengers from the spirit world, holders of universal wisdom, and protectors against evil forces.
This piece by Meryl McMaster, also part of the Focus Exhibition, has a quiet power and mystery.
See more about crows here.
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