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Emerging Artists – January 6 – 17

Winter Emerging Art Exhibition Jan. 6th – 17th 2021 ( online only )

Gallery 1313 offers emerging artists the opportunity to show their art works several times a year. Although we are going through a pandemic with a lock down artists are still looking to reach out to their audience: the public. Artistic expression is even more important during these times. This is an online exhibition ( www.g1313.org ) curated by Phil Anderson, Gallery 1313 Director. There is variety of art works on display including sculpture, photo based works, painting, mixed media and drawing.

While online exhibitions do not offer the opportunity to view works up close and appreciate the tactile nature of works and the bold use of colours it does have a far reach. For example artists from the UK and Halifax sent submissions as well as local artists.

Some participating artists include Prometheus Blackthorn, Alice Wong, Daria Gavrillina, Afifa Bari, Sofia Ramos, Toresa Looui, William Tyler, Sandra Nicole Franke, Natasha Verbeke, Sonia Langer, Catharine Mary Somerville, Kate Greenway, Sunaina Khandelwal, Maria De Zorzi, Mary Perkins, Mikael Sandbom,  Nick Nylen, Elhem Hemmat, Malgorzata Liszka – Wasiuta and Farzaneh Moallef.

Gallery 1313 continues to support contemporary art practices with an emphasis on emerging artists. We are an incorporated not for profit artist run centre that looks forward to opening our doors again in 2021 but will continue to offer exhibitions online.

Daria Gavrilla

  • ‘Hectic Forest’
  • 11″x 14″
  • acrylic on canvas
  • $250

I am an abstract landscape artist living and working in Toronto. Most recent recognition of my work includes Artist Merit of Distinction Award at En Plein Air Competition curated by McMichael Gallery, participation in 59th and 58th Toronto Outdoor Art Fair as well as various group shows at ARTA Gallery in 2019.

Daria Gavrilla

  • ‘Adventures on Georgian Bay’
  • 11″x 14″
  • acrylic on canvas
  • $250

My main interest in art is to create paintings inspired by landscapes and its various forms, lines and shapes. I seek to find geometry, simplicity and elegance in every composition. My work is highly textured. I love working with oil media as it gives me flexibility to apply multiple layers, work with colours and create volume.

Nick Nylen 

  • ‘5 Significant Gems‘
  • 12” x 24”
  • oil on canvas
  • 2020
  • $875

My paintings are constructed much like a collage, the various elements visually operate in different ways while also existing within the same world. I am interested in how these elements converse with each other and create new narratives/readings of the work.

Nick Nylen 

  • ‘Untitled‘
  • 12” x 24”
  • oil on canvas
  • 2020
  • $800

These conversations occur between natural and unnatural imagery, paint application, and pattern to create openings for surreal compositions. The contrast between the differing formal attributes of the paintings along with the contrasting natural and digital imagery work along side each other to complete the collage.

Mikael Sandblom

  • ‘Woven Waves 2‘
  • Jacquard Tapestry
  • 48” x 48”
  • 2020

In this online show, everything you see is displayed as a grid of pixels.  Its not a new idea;  much older than computers. This image of waves is rendered as a woven fabric wherein various coloured threads create ‘pixels’ of colour.  Looms were the first machines to be automated with punch cards: a technology that laid the foundation for the development of computers.

Mikael Sandblom

  • ‘Woven Waves 3‘
  • Jacquard Tapestry
  • 48” x 48”
  • 2020

Can you really ‘see’ waves on water? Their constant motion means you can’t take it all in.
A still image is a paradoxical illusion, you can see both more AND less than in the live experience.

Elham Hemmat  

  • ‘Silence and Movement‘

The pattern of man and woman is the topic that have been shown from Paleolithic time. In San rock art, images of the female figure and women›s issues may be implicitly or explicitly depicted (e.g. Lewis Williams 1981; Parkington & Manhire 1997; Eastwood 2005). As men›s and women›s interests coincide and overlap to an extent, ideas of female maturity and fertility, for example, can be of direct concern both to the male and to the female San shaman (Lewis-Williams 1983:64).

Elham Hemmat  

  • ‘Silence and Movement‘

These patterns sometimes pictured whole and sometimes reduced to a head or torso. To this category can be added numerous realistic representations of the male and female sexual organs, which evidently have the same significance as the fuller figures. The existence of these drawings has suggested to some scholars that a fertility cult existed in Paleolithic times. The representations include realistic depictions of the female sexual organ as well as such male symbols as lines and rows of dots. My works also have a same concern and my desire is to predict the body from my point of view.

Mixed media is the technique that has been chosen for these series of works.

Sandra Nicole Franke  

  • ‘Window into my Soul‘
  • 24″ x 24″
  • acrylic, spray paint, collage, pastel, pencil
  • $299

This intervention is a series of layers, marks, scrapings, brushstrokes and rubbings. It is inspired by the intensity of Riopelle, the mark making of Basquiet and the ethereal sweeps of Frankenthaler.

Sandra Nicole Franke  

  • ‘Curvature of the arm‘
  • 24″ x 24″
  • acrylic, spray paint, collage, pastel, pencil
  • $299

I call these the Window series as they are a view into the here and now, painting in the present moment.

Prometheus Blackthorn

  • ‘No Two Snowflakes‘
  • 20″ x 16″
  • Mixed Media
  • 2020

I facetiously refer to my work as “depressionism,” exploring, challenging, and criticizing issues around modern anxiety, stress, and self-help. My work is a reflection on the struggle to achieve personal harmony in a culture obsessed with the pursuit of perfection. Have we become desensitized to depression or have we reached a point of empathy fatigue?

Prometheus Blackthorn

  • ‘Pop ‘em if You’ve Got ‘em‘
  • 11″ x 14″
  • Mixed Media
  • 2020

Prometheus is a television news producer who has also been active in the Toronto comedy scene since 2007. As the world moved into lockdown, Prometheus turned his focus from comedy to art. He is part of the comedy duo, Nom de Guerre, which released an album in October 2020 called ‘COVID Days,’ available on iTunes and Spotify.

William Tyler  

  • ‘A Systematic Lost and Found‘
  • 48″ x 60″
  • Acrylic, Oil stick , Pencil ,Colored pencils , Marker , Crayon & Collage work on stretched canvas
  • 2020
  • $5,200

William Tyler  

  • ‘Fingers crossed’
  • 48″ x 48″
  • Acrylic ,Oil Stick , Pencil, Colored pencil and Red clay pencil on stretched canvas
  • 2020
  • $4,000

Sonia Langer  

  • ‘Distancing’
  • 30″ x 40″

This past year has changed my perception of space and people around me. The “distancing” has also given more time and room for reflection and the awareness of the unknown. 

Sonia Langer  

  • ‘X Factor’
  • 30″ x 40″

Born in Africa, raised in Europe, Sonia moved to Canada in her late twenties and graduated in graphic design in 1989 at George Brown College in Toronto. Then while freelancing portrait commissions, attended fine Art classes in different schools mostly under the tutoring of Sadko Hadzihasanovic. Toronto has been a great source of inspiration and for the last few years as she often reminisces about rainy days growing up in Belgium or snowy ones in Switzerland.  

 

Catharine Mary Somerville-Wilson

  • ‘Tendrils’
  • Covid 2020
  • oil on linen
  • 9″ x 11”
  • $700.00

In a moment, in a breath our lives can!  

Nature while devastatingly beautiful can be cruel. The intertwined branches above the pond seem to struggle in a dance. The clouds above the lake jostle for position. Never still.  Only an artwork can express the human inner turmoil of these sensations and be beautiful. 

 

Catharine Mary Somerville-Wilson

  • ‘Windjammer’
  • Covid 2020
  • oil on linen
  • 12″ x 16”
  • $700.00

 

Kate Greenway

  • ‘See’
  • 20” x 20”
  • Glass, Shells, Beach glass, Phototransfer
  • $500

I often work in glass – fused, stained and mosaic – frequently combining mixed media and photo-transfer elements. I am fascinated by the way this medium can carry literal and metaphoric weight in its ability to be transparent, translucent or opaque, allowing us to consider what we can see through, see beyond to, or not see/what is obscured.

Following the creation of “See”, exhibited at Queen Gallery in 2017, I wanted to complete an “elemental” series that explores our ongoing environmental crises and employs actual physical artefacts of each element and references the creatures or environments in peril in each of Water, Fire, Earth and Air.

 

Kate Greenway

  • ‘Out of This World’
  • 28″ x 28″
  • Glass, Antique dishes
  • $950

The final piece – “Out of This World” – is more ethereal and perhaps more hopeful, and looks beyond our solitary planet to our interconnectedness outside our physical borders.

 

Wasiuta, Margaret (Liszka-Wasiuta, Malgorzata)

  • ‘Emergence’
  • Acrylic on canvas
  • 20″ x 20″

Inspired by life and people, my painting is a way of story-telling. Using the language of colour and lines, I attempt to translate my feelings onto the canvas. I am devoted to communicate and share my experiences, thoughts, memories, and the musical flow that substantiates my world of emotions. I paint mostly abstract, but not always… illustrating the human form in dreamy ways has become a common theme in my work.

 

Wasiuta, Margaret (Liszka-Wasiuta, Malgorzata)

  • ‘Space’
  • Acrylic on canvas
  • 16″ x 20″

To accomplish my goals of expression, I make use of acrylic, oil, pastel, charcoal, pencil, glaze, and varnish in various combinations. Layer after layer, I want to expose what is underneath; experimenting with my fingers, hands, and pieces of fabric or sponge to create unusual textures.

 

Mary Perkins

  • ‘Nightfall in the Meadow’
  • October 2020
  • 16″ x 20″
  • Oil on canvas

Ever since I was a young girl, I loved being out in nature and often explored the Don River in Toronto. Decades later, I have now tapped into my passion and found the courage to capture some of my favourite seasons and sceneries.

 

Mary Perkins

  • ‘Cascade’
  • October 2020
  • 16″ x 20″
  • Oil on canvas

With encouragement from my family and friends, I have decided to put my work on display. I have been a stay at home mother for the past twenty years and first picked up a brush this past summer during the Covid pandemic in an attempt to find beauty and colour in each day.

 

Natasha Verbeke

  • ‘from the Feast of Venus, study II’
  • 11.3cm x 14.5cm
  • oil paint on paper

Inspired by the history of painting, I lean into elements such as Baroque art to examine composition, colour, and the new narratives which develop in my paintings.

 

Natasha Verbeke

  • ‘bottomless as the edge of tomorrow is soft, study VI’,
  • 11.4cm x 14.5cm
  • oil paint on paper

My recent work explores movement and energy through abstracting both landscape and figurative elements in small scale oil paintings.

 

Maria De Zorzi

  • Kanvas-Piece 3 
  • ‘Reflection #3‘
  • 28″ x 22″
  • Acrylic

I have always loved to paint. I have used several mediums and have found that acrylics best suit my style. I am a self-taught artist and have recently started painting on a regular basis.

COVID has afforded me an opportunity to delve into something I have been passionate about for a long time. In September, I opened up a boutique art studio in Toronto’s Junction area. A bright light space to detach, dream, and create. It’s been the best of times, in the worst of times, due to the lockdown and other restrictions placed on our city.

 

Maria De Zorzi

  • Kanvas-Piece 5
  • ‘Crimson Sky‘
  • 48″ x 40″
  • Acrylic

In the Reflection series I have chosen to submit, I attempt to capture depth and movement in my work using sweeping strokes and anchoring swirls. I hope to foster not a fleeting observance, but a meditative experience. The Crimson Sky piece is a more structured abstract, while still keeping the same general style.

 

Toresa Looui

  • ‘Future of Ontario Farmland’
  • 20″ x 16″ x 1.5″

When I begin a painting, I often have a vague notion of where I would like to end, my focus is on “listening” to the painting and “following” its lead.
I like to create a diverse array of contemporary abstracts in Acrylic and Oil / Cold Wax .

 

Toresa Looui

  • ‘Urban Sprawl’
  • 24″ x 30″ x 1.5″

I use contrasts in color and form to underscore emotion and reflect a range of moods from light and playful to thought-provoking and ambiguous.

 

Connection Earth Collaborative (Alice Wong)

  • ‘Arcane Falls’
  • Digital Illustration
  • 2000 x1500 px
  • 2020

I use contrasts in color and form to underscore emotion Arcane Falls is a digital art piece made in response to the COVID-19 pandemic that impacts the world around us today. The depicted landscape of represents my desire for travel of the 2020 year.

 

Connection Earth Collaborative (Alice Wong)

  • ‘River Fishes’
  • Acrylic on Wood panel 
  • 36″ x 18″ x 1″ 
  • 2020

 “River Fishes”, acrylic on wooden panel, is a self exploration of peace, and happiness, all while an abstracted imagery of a fish is being used. The fish swims through the calm palette of colours, a representation of the day-to-day human subconscious and the feelings we might run into there. 

 

Afifa Bari 

  • ‘Vogue’
  • Oil on Cradled Wood Panel
  • 30″ x 30″
  • $1,700

The impact of humans on the environment is an ongoing research, and there are lessons we can learn from the existing research. One aspect of this research that caught my interest related to consumerism. To understand the constant growth of consumerism, how it impacts society and drives capitalism, and the long term effects of consumer driven behavior, I want to dive into a concept that focused on environmental and social issues that affected our society.

Primarily using oil paints, my compilation of works reflects my internal struggle linked to my shopping habits. My work plunges into capturing the fabrication of clothing, and its impact on our environment. Focusing on consumerism and capitalist-values, I discuss consumerism from different perspectives. My recent work titled Vogue pays homage to our desires and the stem of those desires through forms of media, including magazines and advertisements catered to us. This work is one that plays into our mundane lives while focusing on the consumerist values that surround us. Furthermore, this concept transforms itself into installations and sculptures sourced from my own scraps and recycled materials.

 

Afifa Bari 

  • ‘Denim on Denim’
  • Oil on Cradled Wood Panel
  • 18″ x 24″
  • $200

My work asks the avid consumer, whether they understand where their clothes come from and in turn where they end up. It asks them if they trust fast fashion brands based on sustainability and ethical fashion. It further asks the viewer what drives them to shop? These are questions I ask myself when developing my work and hope to create to allow the viewer to ask themselves similar questions.

 

Sofia Ramos 

  • ‘Reaching New Heights‘
  • Oil paint on wood panel
  • 12″ x 12″
  • 2020

I like to describe my work as two journeys that take the form of oil paintings. One takes the shape of flowers and the other as a faceless explorer or paper planes trapped in time. When I paint flowers, I explore the simplicity of observation, being in the present and taking one step at a time. Whereas the other takes an ambiguous approach, no identity and no place in particular. It becomes a space where I reflect and accept my past within a hidden narrative.

 

Sofia Ramos 

  • ‘The Rabbit, The Moon & The Astronaut‘
  • Oil paint on canvas
  • 24″ x 24″
  • 2020

On both of them, I encourage the viewer to experience the artwork the same way I did when I painted them, creating a personal and intimate experience between the viewer and the artwork.

 

Sunaina Khandelwal 

  • ‘Pompeii‘
  • Handmade pigment, Clay, Plaster, Charcoal and Oil on wooden board
  • 36 cm (height) x 23.5 cm (width)
  • December 2020
  • $350

The photos presented here As painters operating within the western art culture, if we were to hear the names of colours such as Red Ochre and Burnt Sienna, we would instantly be able to construct a mental picture of these materials based on their historic associations. The names of such colours encapsulate a material essence of something being quite earthy, opaque, and coarse and as a result, Khandelwal’s practice looks to question how the specific categorisation of these artist pigments challenges our visual perception of the artworks we encounter. By representing industrially produced artist colours within her work, Khandelwal references fragments of their history from a contemporary position.

 

Sunaina Khandelwal 

  • ‘Cave Paintings‘
  • Handmade clay pigment, stone, Charcoal, Collage, Oil and Copper Sulphate on wooden board
  • 70 cm (height) x 100 cm (width)
  • November 2019
  • $480

 Sunaina Khandelwal is a multimedia artist with an interest in Art History and Curating. She is residing in Toronto, Canada and her personal practice explores the status and meaning of colour within the western art world. Colour as a material is a fundamental part of painting but is constantly unappreciated as a subject within itself. Khandelwal believes that colour is often perceived merely as a picture making tool whilst the significance of its pre-existing ideologies and histories are overlooked. As a result, her work is concerned with how the pigments we painters use today, are contemporary re-enactments of their historic selves, by manifesting an essence of the past that is embedded within their materiality.

 

Connection Earth Collaborative (Farzaneh Moallef) 

  • ‘The Chef on Dundas Street‘
  • Digital Photography
  • 4947 by 3298 pixels
  • Oct. 2020

A year ago, almost overnight, around the globe a virus changed the course of what humanity had come to perceive as normal. Here in Toronto, we were not exempt from that.

 

Connection Earth Collaborative (Farzaneh Moallef) 

  • ‘A Rainy Christmas‘
  • Digital Photography
  • 4482 by 3366 pixels
  • Dec. 2020

The photos presented here taken over 2019 and 2020 aim to represent the joyous spirit of a city  but also perseverance and resilience of the human spirit in the face of a disastrous calamity and hope for a better tomorrow.

 

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