An exhibition of a new series of paintings by Allyson Clay [Groundsplatpink]
And work by: Kika Thorne
Exhibition Dates: February 20 to March 22, 2014
Opening Reception: Thursday February 20, 6 to 9p
The artists will be present. A site-specific outdoor installation will be on view. Social Media mogul James Fowler will be broadcasting highlights of the opening online. Follow us live on Twitter at #onepossiblearrangement and on the Katzman Contemporary Facebook page.
Whet Your Palate Artist Talk: Saturday February 22, 2 to 4p
A first in a series of events that celebrate aesthetic and gustatory delights. Please join us for scrumptious tastes and beverages along with the opportunity to engage in intimate conversations with the artists about their art.
86 Miller Street, Toronto
ONE POSSIBLE ARRANGEMENT explores the exercise of curatorial arrangement: a coming-together of works that typically exist independently of one another, yet intersect and engage in conversation when re-contextualized within the gallery space. Anchored by Clay’s new series of paintings, the connections that emerge with Thorne and Martindale’s work are the result of their shared physical arrangement in Katzman Contemporary. Such connections take form in language, the treatment of space, and (at times) a common concern with ecological politics, the use of particular materials, and references to similar histories, to name a few. As such, the exhibition is a site to begin the exploration of the connections and circumstances that emerge from this one possible arrangement.
Allyson Clay’s recent work, Groundsplatpink, takes up issues of descriptive language in relation to abstract painting and traditions of art writing. In these new paintings, she appropriates, re-writes, or invents condensed descriptions of unnamed or invented abstract paintings. Clay frames these words within referential abstract shapes that form intentionally awkward configurations. Her phrases become visual representations of the ways in which language is used and molded into alignments that are at once uncomfortable, unlikely, and poetic. Like the texts that she has employed in past works, the words used in these new paintings both interrupt and co-produce the paintings’ forms and surfaces. Her painterly gesture collapses both the history of the medium and its corresponding discursive tradition into a single, painted, entity.
Kika Thorne’s tensile installations react to their specific environments; as such, they are better described site-adaptive rather than the art-vernacular site-specific. Thorne’s materials respond to the physical demands of their spaces and serve as barometers of the spatial and energetic specificities within which they exist. Just as Clay’s chosen phrases are at the mercy of the confines of her painted surfaces, Thorne’s installation is constrained by and simultaneously responds to the physical limits of the gallery space.
Sean Martindale’s public installations seek to disrupt the continuous fabric of urban spaces. Such disruptions employ materials already present in the environment as the reconfigured stuff of intervention. Cardboard, plastic vessels, plants, and other items that populate the urban landscapes where Martindale stages his interventions, are rearranged to convey his ecologically and socially motivated comments. The documentation of his interventions, in the form of print and video works, record specific instances of his ephemeral material reorganization, which often go on to deteriorate or be destroyed by other means.
For artist bios, please visit our website.
Katzman Contemporary is the new iteration of the former Katzman Kamen Gallery and the original Leo Kamen Gallery. With a critical directorial vision, refined mandate, and new location, Katzman Contemporary is growing and expanding from its original ethos and roster of artists to include new visions and international exchanges.