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Summer break is over and we are excited to announce the opening of a far out show with three contemporary artists. A theme consistent through two painters and a sculptor is the suggestion and display of connectivity to their higher power. Small encapsulated worlds of energy bursting at the peripherals of canvas, pumice and steel. Through buoyant shapes and unique techniques each expresses clear control and harnessing of their medium with notions of surrender to something distant and optimistic. Relinquishing themselves to a process and finding paradise in the act of creation itself
The trio consistently portrays imagery, texture and movement relating to foreign spaces and psychedelic scenes rarely seen in the day to day. These works help to remind us all of the beauty within the natural world and the importance of metaphysical exploration and daydreaming to achieve a renewed lensing in an age of abundance. In this exhibition you should expect familiar landscapes interrupted by radical proprietary technical decisions and treatments that each artist utilizes in exploring a state of peace through their process
Tyler James Goin of Vancouver, Canada has created a whole new body of work able to be realized through his profession as a millwright and machinist. Goin’s technical aptitude allow for a rigid foundation to be created for his further experimentation to surfaces. His "Unearthed" series is a contemplation of form, materiality, and surface - embracing the natural inclination of metals like steel, bronze, and copper to exhibit clean lines, and faceted structures. Through gestural patination, this collection highlights the organic transformations of corrosion, merging the metal's engineered precision with the unpredictable beauty of decay. Each vessel in the series encourages viewers to explore the dynamics between creation and deterioration, capturing moments where the innate properties of metal harmoniously converge with the forces of entropy
Sean Powers graduates from Royal College of Art with a MFA. His paintings act more as wall sculptures with oil painted vignettes onto pumice. Balancing somewhere between science fiction, mystical abstraction, and natural observation, an open ended narrative is constructed for a generative experience predicated on the notion of purpose without a purposiveness. He expounds upon the idea of landscape painting as a genre with the capacity to make room for the imagination through the layering and merging of futuristic daydreams and natural observations. The subjection of nature to something alien, riffs on the dreamy philosophical enquiries in landscape painting through comparisons of the natural and otherworldly to challenge our notions of nature, human and nonhuman. Powers experiments with a range of printmaking inspired techniques, distortion and pixelated rock-like textures to shift the visual realm into a graphic haptic experience that takes us to a posthuman aesthetic domain
Jonathan Todryk is a self taught full time painter with a lifelong of creativity between being a touring musician and developing his techniques on canvas in between his previous career stints. His new body of work was initially inspired by Gregorian chants and once discovered, could be heard all day while in his studio in Texas. The more he listened, the more he discovered the deep connection these current works had to the songs. Gregorian chants are monophonic, consisting of a single unaccompanied melodic line and also are free rhythm. Without time signature or a beat it brings a more spiritual feeling and makes it clear the purpose of these simple songs was to enhance scripture through an art form. Todryk finds his work shares a deep connection to this purpose. Similarly, these new paintings are monochromatic, using a pure color and tint to create depth. The simple gestures create a sort of “free rhythm” and move the work past being something recognizable and into the spiritual. His work also shares in this rich history and dedication of expressing the love of God and the gospel through his paintings