Soon Comes Night
Birch Contemporary
29 Tecumseth St, Toronto, ON M6J 2H2
(416) 365-3003
birchcontemporary.com
July 27 - August 26, 2017
Reception July 27, 2017 6 - 8pm
Curated by Rebecca Travis with accompanying text
Featuring artists: Steven Beckley, Martin Bennett, Sarah Sands Phillips
Review by David Saric here
Documentation by Rebecca Travis
Soon Comes
Night explores images as
an unfixed entity – between light and dark, abstract and representational,
constructed and incidental. Painterly and photographic processes of
abstraction, erasure and physical manipulation reveal alternative ways for
imagery to surface over time, encouraging a prolonged act of looking
and contemplation of duration. The title of the exhibition is
inspired by a common engraving on sundials - in Latin ‘Mox Nox’ or ‘Soon Night’ - which reflects the work’s sense of time,
and its hinging between definitive states.
Martin
Bennett’s Timed Expanse paintings emerged through a process of dismantling his pictorial Static
Image works,
focusing on the interplay between positive and negative space, and areas of
abstraction and image. The source material for the Static Image paintings are photographs taken
during lengthy walks at sites in the UK, Italy and Canada, which are then put
through various processes of disintegration – Xeroxing, re-photographing,
slide-projection - before the painting process begins. The Timed Expanse series’ vicarious link to photography
(as a painterly decoding of these Static Image works) is upheld with each work’s
uniform white border, which echoes that of a traditional photograph print.
Studying the Timed Expanse paintings, forms begin to emerge but are not prescriptive
of a certain subject matter; rather the ‘imagery’ is caught mid-development,
much like an exposing photograph in a darkroom. A unifying element throughout
Bennett’s practice is the finishing process of sanding the painted surface,
pulling certain areas of application to the fore, while receding others.
Sanding is
also key to Sarah Sands Phillips’ ongoing series Photographs of Canada, in which she selects photographs
from books documenting Canadian landscapes and gently rubs away the image until
only an echo of its skeletal structure is left behind. As the primary image is
eroded, an alternative, underlying one is revealed, suggesting the long-term
instability of landscape, memory and the photographic surface.
The film Under
Sun is also created from found material,
in this case a splicing
together of light leaks from assorted reels of 8mm footage, captured between
1935 and 1965. Along with trapped dust, hairs and blemishes on the film, Under
Sun’s spectral
colour palette becomes a compositional element of painterly abstraction within
each frame, pulling imagery from perceived blankness.
An
intimate gaze is key to Steven Beckly’s varied practice. Here, three photographs (two of which
were taken during his recent residency at the Doris McCarthy Artist-in-Residence
Centre) are presented on translucent film, which hangs, bows and curls from the
architectural fabric of the gallery space. The work’s sculptural presentation
invites a connection with the body and allows for the imagery to reveal itself
from a variety of perspectives, while its organic subject matter – hazy dusk, a
horizon line – is ripe with potential for otherworldly transition. // Rebecca Travis
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