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Hotspur Studio
The
Brantford Expositor
July 2008
Steve
Menhinick
FOUR
APPROACHES TO LANDSCAPE The
abstract relief painting of Gary Blundell appears initially to have nothing in
common with the pristine realism of Doherty or Watts and , although his
expressive technique and style are far removed from painterly realism, his
attention to the detail of the natural world in its most physical sense brings
us closer to a geological representation of the world. A strong sense of
composition, colour and form - build up by his thoughtful manipulation of
plywood, plaster, and paint - enables the viewer to step into Blundell's world,
where man intervenes to change nature.
The Sudbury Star, On the Arts
October 2006
Marek Krasuski
FINDING BEAUTY IN THE ROCK
Gary Blundell is a geologist by training, but a
cartographer by artistic impulse. His attempt to chart
the vast geological diversity of the Sudbury region in
an untraditional abstract series of works is on display
at the Art Gallery of Sudbury. These are intriguing
pieces that incorporate a surprising range of colours,
presenting an unusual beauty in their idiosyncratic
features.
Blundell's works are threaded together by geometric
patterns partly shaped by horizontal and vertical lines
routered into the surface of plywood panels. There is a
tendency for interest to wane quickly as a result of the
apparent sameness of these mainly abstract
interpretations, most of which follow a prescribed
pattern of blocks accumulating upon and around each
other like cells in an organic structure. But this is a
superficial perception that fades after a more
considered contemplation of their individual
characteristics, many of which envision the vitality of
a subject mistakenly seen as inert and lifeless - rock!
Crow flight Minerals, for example, is an oil-on-wood
interpretation of a rock surface that blazes with colour
diversity and unique geometric configuration. A series
of long, thin rocks stand perpendicular to each other,
dominating the centre. Larger rocks, each uniquely
shaped, appear to move out from this clustered
periphery, illuminated by firey reds in some and shades
of gold in others.
Rational materialists would scoff at the idea of rock
imbued with a life force. Others might hold a different
view. Theosophists and others sharing similar
metaphysical viewpoints consider the mineral kingdom to
have consciousness, a decidedly controversial, but
intriguing, and even inflammatory notion in an area
where we depend so much on the extraction and
manipulation of minerals. There is no evidence that
Blundell shares this view, but his animated
interpretations of this regions crustaceans, each
stamped with his unique imprimaturs, do bring to mind
alternative ideas about Sudbury's rock - inescapable ,
beautiful and integral to our history. Indeed, the
relationship between its eternal presence and human
activity is never from out attention in these works.
Connection to the literal bedrock of our existence is an
interpretive exercise that Blundell conveys with an
ambiguity mirroring his own ambivalence about Sudbury's
mining history and the huge consequences for the lay of
the land.
In Edge, a shuddering reaction is evoked by a forbidding
image of what looks like the cold dominion of an
industrial landscape. There are the characteristic
geometric lines that divide the image into rows of
rectangular shapes. But then there is the horizon line,
a deathly black streak above which blood red strokes
fill the sky. It has the power to evoke images or a
hellish order as well as awe. The power of human
industry to create and simultaneously destroy is never
far from the horizon of our awareness. In yet another
work, Embarkation invites us to linger on the details of
place and movement. This visually charged image is a
layered, subterranean illustration that dances with rich
contrasts. Daring brushstrokes of strong reds and
yellows streak across the surface of geological
formations separated by much darker tones, their shapes
indeterminate, yet fully alive in their appearance of
motion that flows across the display.
The Thunder Bay Source
November 25, 2005
by Kathryn Lyzun
On Saturday Nov. 26, two of Ontario's most interesting
landscape artists are giving local artists the chance to
challenge traditional ideas of landscape paintings and
discover new and rugged contemporary practices. E. G.
Blundell, born in England but a longtime resident of
Ontario, and partner in artistry Victoria Ward of
Oshawa, ON, will spend the day helping people develop
new ideas about landscape painting and environmentalism
at the Thunder Bay Art Gallery. Their exhibition is
already in place, showcasing Blundell's enormous, bold
and "virile" gouged-wood paintings and Ward's smaller,
softer wood and paper acrylics.
Curator Glenn Allison said the pair's style is a really
hands-on, return to the earth concept that is the modern
face of landscape painting. "In the 60's and 70's,
landscape atrophied as an art form... the Group of Seven
is now three generations gone. Blundell and Ward
represent a new group of talent that is re-examining
landscape, and it's coming up very differently, perhaps
fortunately."
E. G. Blundell and Victoria Ward are two of Canada's
best known landscape artists
Blundell and Ward the make the environment a direct part
of their work, using the plywood canvas as a carving
board before it's painted. They use heat guns, blow
torches, hammers and gouging tools to carve out and
illustrate their stories. Blundell, in fact, is not
artistically trained: he has a background in Earth
Sciences.
"You see in Blundell a real mining of the wood," Allison
said, "It's a shift from objective representation, as
seen in the old landscape style , to direct engagement.
As environmentalism both artists call for a greater
depth of identification with the forces of nature."
Blundell's mesmerizing pieces look geological, like
flowing lava or alien terrain of rock and earth. Ward's
are more ethereal , story telling pieces, like the
strangely beautiful "lunar shack" which features a huge
glowing moon painted above a tiny stuck-on photograph of
a little shack, dwarfed against the massive sky.
The pair both strongly believe in their art, and Allison
said the workshop will be wonderful for anyone willing
to open his or her mind. "It's a chance to experiment
and explore new ways to discover the earth."
Ottawa Xpress Magazine
April 14th, 2005
Artswatch
Anita Euteneier
Turkey, by Victoria Ward: inspired by a Chaim Soutine
painting in the Louvre
INSIDE THE ARTIST'S STUDIO: VICTORIA WARD
I met Victoria Ward at her studio near the hamlet of
Gooderham, roughly half way between Toronto and Ottawa.
Surrounded by the rugged Canadian Shield and spectacular
waterfalls, it's easy to see where Ward gets the
inspiration for her paintings. The studio is a former
woodshed that she and her partner, landscape artist E.G.
Blundell, designed, converted and now share.
The walls of Ward's studio display postcards of works by
favourite artists Tom Thomson and Anselm Kiefer, a
collection of images of the Northern Lights, and Ward's
own poetry. Ward is comfortable with words, having
worked for 10 years as a professional playwright in
Toronto. "I learned to write in metaphors, so images
come easily," she told me.
In 1997 she looked around for a new direction and fell
into painting-and in love-when she met Blundell at an
art opening. "We started going sketching together and he
was very encouraging," she said. Since then the couple
have painted and exhibited together, most recently in a
touring show from the Robert McLaughlin Gallery in
Oshawa.
Ward's early desire to become an artist was encouraged
by her mother, a hobbyist painter who took her to
museums and galleries. "I tend to think that people who
step out and decide to take a creative avocation and
turn it into a vocation become aware of their mortality.
We don't feel like we have a lot of time, so it's about
leaving our mark."
Ward's works on wood and paper reflect her observations
of the natural world. "I am attracted to human
interaction with the land," she said of her paintings
that show barns and houses and hydro poles, but never
people. "People get in the way of the scenery," she
said.
Ward fuses text (often poems) with visual images,
creating narratives with universal themes. They are less
about a place than a place in time, where even Icelandic
lava fields seem familiar. "Some artists like to be
wilfully obscure. It just doesn't interest me. I think
it's the height of arrogance when an artist says it all
comes from the imagination... it's all out there,
somewhere."
Ward is not a spontaneous painter. Much of what comes
out gestates during long walks on the country roads near
Gooderham and in travels in Canada and abroad. "Before I
put a piece of metal on board, I've drawn it 740 times
in my brain," she explained.
Outside the studio, a large picnic table serves as a
work space for some of Ward's more hazardous artistic
techniques. She often alters wood surfaces with a
router, blowtorch and heat gun to add and remove paint.
Her upcoming exhibition at the Manx Pub in May is called
Gamey. The idea came from a visit to the Louvre where
she spent time with paintings by 18th century genre
painters. Ward was struck by still-life paintings of
splayed oxen and dead partridges displayed next to
portraits of monarchs.
"Gamey" also refers to Ward's experience of finding
roadkill and extricated deer limbs (left over from
hunters) while out walking near her studio. The exhibit
runs May 11 to 31 at the Manx Pub, 370 Elgin Street.
Marks & Concessions Catalogue, Robert McLaughlin
Gallery 2005
essays by David Aurandt, Executive Director and R. M.
Vaughan
available upon request
Express Magazine
Ottawa, June 12 - 18, 2003
Precambrian Shield foundation for artists
Sometimes a place leaves such an indelible impression
that it must be revisited. Some two years after an
artist residency in Iceland, Gary Blundell and Victoria
Ward have done just that, revisiting Iceland's mystical
landscape in drawings and paintings.
But while their new paintings and drawings incorporate
elements of Iceland's gritty black lava fields, the
rocky Precambrian Shield that surround their isolated
studio in Gooderham, Ontario, chiefly informs the work.
Blundell and Ward, who are also life partners, moved to
the rural area because of the landscape and because it's
half way between their families in Ottawa and Orillia.
Blundell first visited Gooderham to collect minerals
while and earth sciences student at the University of
Waterloo. But Iceland challenged his notions of
landscape.
"In Iceland, the land is very young geologically, " he
said in a telephone interview. "The lava comes out of
the volcanoes and flows down over the surface of the
land. When it cools, it forms a surface that's very
broken and almost cellular." It does not look at all
like the scraped, old and metamorphically reorganized
Precambrian Shield.
In Waterline, Blundell gouges the wood with a router
into small square forms that take on a pixilated
quality. Oil paint is applied with layers of gradated
colours, with green and grays becoming oranges and reds,
creating a textured large-scale work that takes a full
week to complete.
"There's a pivot in each painting, when I'm working on
it for a few sessions and it starts to become more about
the piece than the information I've selected to make the
piece. It's a natural progression, very expressionistic.
Blundell's exhibition Rock Show opens at Artguise June
13 at 7pm.
Gooderham is an unlikely place to live, , especially for
a visual artist with a a theatre background and big city
sensibility, but it's been the fuel for Victoria Ward's
art.
"Living up here it's a funny cliché but you really start
noticing nature and how it changes," she said. In Field
and Steam, opening this week at the Manx Pub, Ward's
small, framed paper works with acrylic and pen "are
based on the kinds of things I see from my passenger
window in the truck near my home: bulrushes, wetlands,
hydro lines and litter."
Ward also reads form her poetry chapbook, notes from a
log cabin, ,published by Ottawa's Camenae Press at
Gallery 101, Nepean Street, on July 10 at 7:30pm.
- Anita Euteneier
Cornwall Standard-Freeholder
Artist has feel for Canadian landscape, August 29, 2002
By Kathleen Hay
It’s time to rock on at the Cornwall Regional Art
Gallery. A new exhibit by E. G. Blundell, who actually
has a degree in Earth Sciences, is a collection fo
unique paintings with a three-dimensional touch –
literally.
The collection, 40 Years of Rock – opens today and runs
until Sept. 21 at the Gallery, 168 Pitt Street. A
reception, with the artist in attendance, will take
place at the gallery today at 7 p.m. The general public
is welcome to attend.
“I love the texture of his paintings,” said Sylive
Lizotte, gallery director. “The carving on the wood adds
a great dimension, and the colours are the actual
colours of the rock. He’s more interested in the pattern
of them than he is in the landscape.”
Blundell sculpts large sheets of plywood, then uses rich
oil paints to create his works. Rejecting a traditional
approach to landscape painting, he believes high realism
and abstraction are one and the same.
He was born in England, but immigrated with his family
to Canada in 1962. A graduate of the University of
Waterloo, the self taught artist began painting as a way
of expressing his feelings of the Canadian landscape. He
spends a part of each year traveling throughout the
country, making sketch and visual records of his
journey. Back in the studio, he words them into large,
vivid art works. Instead of depicting a site visually,
he expresses his impression of a particular place
through textures and colours.
Blundell has been artist in residence for educational
institutions in both Newfoundland and Iceland. “Half of
his show is inspired by these scenes of Iceland and
Newfoundland,” said Lizotte.
This is Blundell’s first exhibit at the city gallery ,
however his list of credentials includes the McMichael
Collection of Art, the V. Macdonnell Gallery, BUSgallery
and Joseph D. Carrier Gallery’s in Toronto.
From Eye Weekly
The Year in Pictures, December 2001
"The most surprising thing about the last 12 months of
art? Not one Stanley Kubrick or the HAL the Evil
Computer Tribute show -- no kaleidoscopic tunnel rides,
no big black slabs, no shiny white rooms and only a
handful of psychotic primates (mostly gallery dealers).
What a waste.
Here, then are my 10 Best Art Moments for 2001. Just
because I care.
7. Gary Blundell and Victoria Ward at the BUSGallery.
The most joyous, straight out-of-the-tube paintings of
the year. Imagine a Pucci pantsuit crafted out of wood
and metal by rural Ontario eco-activists and you're
halfway there."
R. M. Vaughan
From The Globe and Mail
For the article
Partners in Art and Life, July 17, 2002 by R.M. Vaughan
(click here)
From Gallery Going, September 2000, Gary Blundell at V.
MacDonnell Gallery
Like his predecessor Paul Walde at V. MacDonnell, Gary
Blundell – who is trained as a geologist – takes a
router to plywood and gouges his way into his paintings.
But where Walde also employed porcupines and beavers as
assistants in the wood-rendering process, Blundell, who
lives in the Haliburton region of Ontario, depends on
his camera for assistance. He is attracted, he says, to
the rich and subtle colouration of the rock outcroppings
of his neck of the woods (the show is called Metamorphic
Goss, goss being short for gossen, “the rusting of an
ore-carrying rock body at the surface”). The artist
turns his colour photos into highly textured paintings,
their raw and robust colour rubbed into the distressed
wood in a manner that lands them somewhere between
abstraction and the ways things really are out there on
the Canadian Shield. –Gary Michael Dault
From The Broken Fence Society
Newsletter, summer 1999
The focus of Toronto artist, Gary Blundell, is to
promote an interest in the natural world through his
uniquely textured art. Blundell uses sheets of plywood,
oil paint and a router to create large,
extra-dimensional works of art that express his deep
love and appreciation for nature.
By using the special technique of gouging, Blundell’s
art takes trees, rocks and land forms into a realm
beyond the two dimensional, His pieces range from
semi-abstract interpretations of Canada’s rugged
wilderness, to the subtlety of the microcosm: barnacles,
fungi and lichens.
Blundell believes that people often appreciate the
wonder of grand landscapes while ignoring the intricate
beauty of nature at their feet. It is this abstract
quality of nature that he endeavours to capture in his
work.
Gary moved from England to Canada, with his family, in
1962. It was this early introduction to the Canadian
wilderness which kindled his passion for nature.
After graduating with a Bachelor of Science degree in
Earth Sciences in 1983, he began painting. Initially his
focus was on landscapes, but his travels across Canada
engendered a deep appreciation for the beauty and rugged
texture of the land.
Blundell’s sense of protection for the environment
continued to grow and he ultimately became an
Environmental Consultant, his chosen profession for the
last four years. He has also worked for eco-friendly
groups such as The Sierra Club of Canada, The World
Wildlife Fund and The Endangered Species Coalition.
From Arts Watch –Ottawa’s art news and notes
‘Gary Blundell aims for eco-art’
Toronto landscape painter Gary Blundell knows a thing or
two about rocks.
In describing his work he marries geological buzz words
– like fissures, fractures, glacial deposits, deltaic
features – with an artist’s vernacular.
This fusion of art and science dominates his bold and
vivid paintings that grace the pages of recent issues of
Canadian art mag Vie Des Art and the cover of eco-zine
Wildflower. No surprise Blundell’s business card bills
him as Environmental Consultant/Artist.
From childhood rock collecting Blundell moved easily to
a degree in geological engineering from the University
of Waterloo.
“I was much more interested in the aesthetics of what I
was learning rather than the practical applications,” he
says. Blundell returns briefly to his hometown for a
showing of his work at Gamma Ray Productions Gallery
(494 ½ Somerset West), on view until May 2.
Studying landscape painting under Ottawa artist Ian
Hobson, Blundell took weekend trips to Lake Superior,
Algoma with Gamma Ray colleagues and later with
Toronto-based Bay Woodyard and pals. To expand his
geographical horizons, Blundell journeyed to the
Maritimes on sketching trips.
His most recent – a two month trek last summer – fueled
(sic) eight months of studio painting and a half dozen
gallery shows.
His large (3’x 4’) landscape painting incorporate a
modified version of a technique pioneered by Canadian
landscape painter Paterson Ewen – a supporter of
Blundell’s work.
Using rough-textured plywood boards, Blundell gouges out
areas of wood with a router. The defined space is
transformed into images of the earth, sea and sky in a
manner.
In his Bay of Fundy series, terracotta rock faces rise
form the swirling blue waters of the Bay of Fundy’s
tide-land drainage area paintings.
‘The tides come in and out twice every day
with12-foot-high changes in water level,” he says. “The
land is very scoured and scraped and these beautiful
patterns appear.”
Blundell’s powerful palette is also infused with light.
Acid-green lichen covers the red-orange rock of the Cape
Breton Highlands. The cold waters off Newfoundland’s
North Peninsula are all brooding blues and blacks,
capped in white.
Shying away from brushes, Blundell applies paint with
putty knives and removes it with rags. The works are
textured and substantial. -Anita Euteneier
From Fragile Embrace – Reflections on the Environment
Burlington Art Centre, June 4 – July 23, 2000
Blundell has worked as an artist and an Environmental
Consultant since the mid 1990’s. Although he has his
degree in Geotechnical Earth Sciences, he shares a love
for art, splitting his time between these two passions.
As an artist he is self taught yet his works, much like
the layering of the earth’s surfaces, are as close to a
relief painting as is the rock faces he depicts.
Blundell admits: “I was much more interested in the
aesthetics of what I was learning than the practical
applications.” He has a fondness for the work of
Paterson Ewen and has adapted a technique reminiscent of
his painting style. Blundell uses rough textured plywood
boards and with a router, gouges out the layers of
laminate to create images of the earth, sea and sky. He
then paints these panels, not with brushes, but with
putty knives and removes the excess with rags. The
paintings are moulded as much as painted. His colours
are vivid and the final works emanate a presence that
seems to be cut from the very surfaces they depict.
Blundell is an avid outdoorsman and a keen observes of
nature. This love comes from a youth spent collecting
rocks and exploring. He often visited abandoned mines in
the Gatineau Hills near his hometown of Ottawa:
“I think painting is probably the best way to express
the power and tranquility of nature. Nature is big and
powerful but also so easy to destroy. Ever since I was a
kid I’ve been attracted to natural places and animals…If
you look closely in nature you will see many abstract
paintings just waiting to be painted and those are the
things I am trying to depict in my art. I let nature
dictate to me, not the other way around.”
It is in painting close observations of nature’s
abstract images, where Blundell is most successful.
Initially created like traditional artworks, with a
preliminary sketch and rough drawing, the creating
process then takes over and Blundell gouges, pushes and
manipulates his panels until the desire resulted is
obtained.
The Serpent Rock Face is the most abstract of the three
works on display. The gouged surface and repetition of
shapes form undulating patterns across the painting
surface. Not only does he record this rock face, he
actually renders it, mirroring the intricate marking of
a snake. We can see the interdependent nature of the
environment resonated in this image.
Blundell’s work is not easy to absorb or interpret. His
painting are raw and his technique primitive, a contrast
to the refined, precise application of paint by Bateman,
Danby, Ross and even the tranquility of the pastels of
Kozowyk. Blundell, on the other hand, is crude and
deliberate in his process. The geologist come painter is
most at home unearthing his nature paintings instead of
merely recording them, paint to canvas.
From Lola
Volume 8, Winter 2000 - 2001
Gary Blundell - Metamorphic Goss at V. MacDonnell
Gallery 1340 Queen St. West
Sept. 9 – Oct. 7, 2000
Gary Blundell is Toronto’s butchest artist. A real man’s
man. He chops wood, lives in the forest, can grow a
really bushy beard, and likes chicks and beer. In other
words, he’s great! His paintings are big, highly
coloured blowups of minute lichen growths and rock
formations. They look like abstracts, but so does most
of the natural world, and that’s Blundell’s point.
“Hey!” his work says, “Look around, look down, look
close!” The undersides of rocks are pretty! Nature Art
(such an awful term) is not exclusively about finding
the perfect titanium white for the fur on the mountain
goat’s arse. Blundell is part of a new gang of
eco-artists who are taking the preciousness out of the
form and replacing it with intellectual vigour. And such
a manly vigour, too. R.M. Vaughan
Excerpted from The Hamilton Spectator
June 10, 2000
“Environment embraced – Landscape art featured in BAC
exhibit”
Fragile Embrace: Reflections on the Environment is the
rather fuzzy title of the Burlington Art Centre’s
blockbuster summer show. Te exhibition purports to
‘celebrate the wonders of nature, reflect on the fragile
condition of the earth’s ecology and examine the
relationship between man, society and the natural
world.” And it includes works by Robert Bateman, Gary
Blundell, Ken Danby, Martha Henrickson, Akira Komoto,
Patricia Kozowyk, Stephen Scott Patterson, E. Robert
Ross, Alan Sonfist and Lorne Wagman.
The most abstracted images in the show are Blundell’s
evocations of rock faces and roots. Blundell is a
geologist/artist who was inspired by the paintings of
Paterson Ewen. Like Ewen, he uses the router on plywood,
but instead of Ewen’s views of the heavens, Blundell
likes to look down and get up close to nature. The
results are strongly expressionistic, rugged, almost
visceral evocations of nature’s earthiness. Blundell’s
relief-like images make an interesting comparison to the
rhythmic, expressive paintings of Wagman, an artist who
describes his work as a ‘rabbit’s eye view of meadows,
and lichen covered rocks.’
Xpress Magazine
Ottawa, April 5, 2001
United colours of Gary Blundell,
the Canadian landscape on wood and paper
by Molly Amoli K. Shinhat
Some may see Gary Blundell's landscapes as un-Canadian.
But it's not because they are not suitably deferential -
Blundell is certainly all reverence when it comes to the
craggy mysteries of the Canadian landscape. Rather, the
blasphemy comes in his rejection of what has become the
typical perspective of Canadien when it comes to
landscape painting.
Blundell does not produce the usual broad Canadian
vistas being taken in from a distance by an imaginary
master of the land. Instead, the artist plunges right
into the scene, embracing the perspective of a lover -
he is up close and very personal. It's as if he hovers
inches away from the subject of his observations.
A cursory glance at the 18 works on wood and on paper
underscores the radical departure this alone makes from
what we have come to expect to see when we look at
paintings of the Canadian landscape.
Blundells' background as a geologist makes itself felt
in his work, especially in the works on wood. Using
routers of various kinds to gouge, carve and score
plywood boards before painting them. Blundell manages to
create an extraordinary sense of volume. Seen from a
distance and up close from various angles, the textures
reproduce the roughness and rawness of the natural
world.
These large wood pieces ma well have been easier to
create because Blundell did not have to create
multi-layered three-dimensional spaces on
two-dimensional surfaces. On this level, the works on
paper are far less successful. Blundell is still
mastering the art of creating volume on paper. While it
is understandable he would use sheets of plexi-glass to
cover the works for their protection, these glossy,
smooth visual barriers definitely detract from
Blundell's cause. Shroud-like, the plastic wipes out all
the textures and illusions of depth Blundell may have
created. Hanging them on the wall opposite the wood
pieces further underscores this difference.
Perhaps it is the change in medium that led to the works
on wood becoming truly abstractions (i.e. entirely
non-representative of any recognizable natural form);
whereas, in many of the works on paper, Blundell uses
the same style but the resulting subject is
identifiable.
Interestingly, each medium appears to have generated a
markedly different palette, Blundell's investigations
and experiments with colour take flight in the paper
works. In the wood pieces , he sticks mostly to what
most would typify as "natural colours" - oranges,
browns, greys, blues, yellows and grey-turquoise colours
as well as white and black. On paper, suddenly
Blundell's imagination gets "coloured in" - does he
realize finally almost every colour we can possibly
imagine exists already somewhere in the natural world?
Perhaps, for instance, this is what inspired his bright
fuchsia shadows, which spill back around the edge of a
group of rocks. The ease of executing colour transitions
on a smoother surface may well form the underpinnings to
this distinction.
Blundell is a former arstist-in-residence at the Pouch
Cove Foundation in Newfoundland. This summer he will
head for what should be an engaging experience - a
summer residency in Iceland.
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Hotspur Studio
upcoming events:
Victoria Ward
2008
'rockets and gallows',
new
work
Katharine Mulherin
Contemporary Art Projects, DECADE, September
Pentimento
Fine Art Gallery Toronto,
October 2 - 26
Art
Gallery of Peterborough, March 13 - May 10, 2009
'shining
or something electric', poetry & imagery book, hand bound by Don
Taylor.
Email us if you want one!
Gary Blundell 2008
Katharine Mulherin
Contemporary Art Projects, DECADE, September
Art
Gallery of Northumberland Cobourg, October 18 -
November 29
Artguise
Ottawa, October
24 -
November 12
Art
Gallery of Peterborough, March 13 - May 10, 2009
Pentimento
Fine Art Gallery Toronto, April 2009
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