“Dawn, Sundown” is an exhibition that includes the work of 13 worldwide artists: Amanda Baldwin, Jagoda Bednarsky, Demarco Mosby, Bridget Mullen, Veronika Pausova, Devon Pryce, Santiago Tamayo Soler, Joseph Tisiga, Ben Tong, Joani Tremblay, Janet Werner, Margaux Williamson, and Robert Zehnder. The exhibited artworks take panorama as their impetus however attain far past conventional representations. As a substitute, these artworks oscillate between order and dysfunction, redefining panorama via its portrayal of the pure setting and thru our notion and interplay with the world past.

Some artworks discover sensorial trickery and skewed views. Ben Tong’s immersive work stability chaos and calm, presenting a vivid blur of velocity and lightweight that evokes the feeling of participating with the world via a kaleidoscope. Bridget Mullen’s psychedelic compositions fluctuate between abstraction and figuration, using repetitive layers of mark-making to form delicate natural varieties and dense monoliths alike. Margaux Williamson’s large-scale work exhibits a shoreline uniquely rendered from aerial and foreshortened views, whereby regardless of the detailed brushwork, place and distance stay unclear and unfocused, creating an undercurrent of a barely twisted world.

Amanda Baldwin’s work mix panorama with nonetheless life, utilizing jewel-toned layers of bushes, shapes, and patterns that make it difficult to differentiate between natural and inorganic varieties. Joani Tremblay’s vibrant and surreal work mix pictures of the pure world sourced from social media and promoting with architectural units that body, crop, and obscure the panorama. In Jagoda Bednarsky’s surreal work, tender, floating breasts sit atop white-cap waves or mountain peaks, recalling each legendary and popular culture influences. Robert Zehnder’s fictional vistas are seductive of their fantastical pastel hues and rolling hills, but they evoke a way of unease as a result of lack of secure floor, as if the ground may very well be pulled out or shifted at any second. By painterly methods and visible trickery, these artists reimagine the pure world as alluring and unsettling.

In different works, our bodies work together with the encircling panorama. Demarco Mosby creates illustrative allegorical work that depict emotional scenes of man and beast colliding with their setting, typically laced with a tinge of violence and anachronism. Janet Werner’s unconventional portraits spotlight the strain between her figures’ uneasy, contorted poses and their lush, energetic backdrops, blurring the road between life and loss of life. Devon Pryce’s utility of skinny paint imparts an ethereal, atmospheric high quality to his intimate scenes, the place figures are sprawled inside home and outside settings, conveying a palpable vulnerability. Maybe these works counsel that our our bodies, our gaze, or presence can’t be separated from the panorama and its depictions.

Some artists discover panorama by establishing new, uncanny outer worlds. Santiago Tamayo Soler’s two-channel video juxtaposes digitally constructed areas with discovered footage. Right here, he presents a future-looking world that weaves collectively fictional and historic narratives, centered on a home within the Colombian mountains. Constructing on his ongoing exploration of fantastical but important storytelling, Joseph Tisiga’s painted scenes present absurdist objects and creatures in city, rural, and make-believe settings, wealthy in scope and element. Veronika Pausova’s large-scale diptych gives a window right into a playful world inhabited by whimsical and unlikely creatures: gangly booted spider legs stretch throughout a purple and blue horizon line, as if stepping out of the canvas and into our actuality. If the long-cherished style of conventional panorama as soon as sought to depict the outer world in its unaltered magnificence and splendour, then it’s these works that attempt to flip our perceptions and construct new areas altogether.

at Bradley Ertaskiran, Montréal
till September 2, 2023