Showing posts with label Todd Lambeth. Show all posts
Showing posts with label Todd Lambeth. Show all posts
Thursday, August 10, 2017
Saturday, January 10, 2015
Reality Follies at Open Space by Philip Willey. Jan. 2015
The first show of 2015 at Open Space features five artists and two curators, Lynda Gammon and Wendy Welch. The catalogue begins with an observation…..
“We live in an image-world. Selfies on Facebook, instant sharing on Instagram, and photo albums on Flickr, all demonstrate our intense desire to re-present our world. Through the practice of painting, the artists in this exhibition, each in their own way, are re-presenting and interrogating the meaning of representation, and in turn, questioning our ways of perceiving reality.”
Jeremy Herndl focuses on landscape. His paintings give the sense of being created outdoors in an attempt to catch scenes glimpsed fleetingly. He is more concerned with the overall impression than with individual details and his work often borders on abstraction.
Rick Leong translates the visual language of Asian landscapes to contemporary Western formats.
Jeroen Witvliet’s paintings look at first glance like heaps of smoldering debris interwoven with branches, antlers etc. He’s probably best known for his black and white work but the pieces at Open Space contain muted colour.
Neil McClelland’s paintings of bathers manifest a Cezanne- like interest in form and planes.
Some may remember Todd Lambeth’s paintings of cats at Deluge Gallery. This new series of paintings shows the backside of paintings. It makes for a somewhat coy statement. Not as powerful as the NYPD turning their backs on the mayor perhaps but it hints at some kind of negation or reluctance to specify the content.We have to imagine it.
This being a group show one looks inevitably for associative elements. So what is the common thread here?
They are all painters. And they all deal with representation in the sense that they use recognizable subject matter, as distinct from abstraction which so often relies on titles for reference points. Beyond that there is an unrestricted plein air feeling to the whole show that suggests an empathy for landscape. There is a perceptive essay by Wendy Welch in the catalogue which explains the concept behind the show…
‘Realities Follies questions how the real can be represented in painting through form and process….Reality in a painting can move from objective images of the world to subjective constructs based on the physical experience of creating the work’.
Not to downplay Welch’s thesis but the same can be said of sculpture, photography and even conceptual art. All art forms in fact can and do go beyond representation. Still in this context she is making a case for painters having more physical control of the reality they choose to represent as opposed to the reality of photography. She admits a consensus on what reality is might be hard to come by but she sees painters ‘letting imagination, memory and the painting process itself direct the end result’.
She describes Herndl’s paintings for instance as a kind of shorthand, a meditation on light, forms and colour whereas Leong creates a fantastical reality rom hybrid sources, Lambeth questions the nature of painting, McClelland takes a historical approach, and Witvliet speaks of survival.
Welch expands on these ideas in another essay on the VISA website.* In this essay she talks about a rebirth of painting. (Some among us would say it never died but that’s a separate debate). In an age of saturation by photo-based images Welch considers painting as relevant as it ever was. Perhaps more so.
The curators want to inspire us to make sense of our own reality. Have they been successful? The show runs until Feb 21st. so go to Open Space and decide for yourself.
The artists and curators will meet in a panel discussion on Saturday, January 17 at 2:00 pm. at Open Space.
· http://tinyurl.com/n7pdf4f
“We live in an image-world. Selfies on Facebook, instant sharing on Instagram, and photo albums on Flickr, all demonstrate our intense desire to re-present our world. Through the practice of painting, the artists in this exhibition, each in their own way, are re-presenting and interrogating the meaning of representation, and in turn, questioning our ways of perceiving reality.”
Jeremy Herndl focuses on landscape. His paintings give the sense of being created outdoors in an attempt to catch scenes glimpsed fleetingly. He is more concerned with the overall impression than with individual details and his work often borders on abstraction.
Rick Leong translates the visual language of Asian landscapes to contemporary Western formats.
Jeroen Witvliet’s paintings look at first glance like heaps of smoldering debris interwoven with branches, antlers etc. He’s probably best known for his black and white work but the pieces at Open Space contain muted colour.
Neil McClelland’s paintings of bathers manifest a Cezanne- like interest in form and planes.
Some may remember Todd Lambeth’s paintings of cats at Deluge Gallery. This new series of paintings shows the backside of paintings. It makes for a somewhat coy statement. Not as powerful as the NYPD turning their backs on the mayor perhaps but it hints at some kind of negation or reluctance to specify the content.We have to imagine it.
This being a group show one looks inevitably for associative elements. So what is the common thread here?
They are all painters. And they all deal with representation in the sense that they use recognizable subject matter, as distinct from abstraction which so often relies on titles for reference points. Beyond that there is an unrestricted plein air feeling to the whole show that suggests an empathy for landscape. There is a perceptive essay by Wendy Welch in the catalogue which explains the concept behind the show…
‘Realities Follies questions how the real can be represented in painting through form and process….Reality in a painting can move from objective images of the world to subjective constructs based on the physical experience of creating the work’.
Not to downplay Welch’s thesis but the same can be said of sculpture, photography and even conceptual art. All art forms in fact can and do go beyond representation. Still in this context she is making a case for painters having more physical control of the reality they choose to represent as opposed to the reality of photography. She admits a consensus on what reality is might be hard to come by but she sees painters ‘letting imagination, memory and the painting process itself direct the end result’.
She describes Herndl’s paintings for instance as a kind of shorthand, a meditation on light, forms and colour whereas Leong creates a fantastical reality rom hybrid sources, Lambeth questions the nature of painting, McClelland takes a historical approach, and Witvliet speaks of survival.
Welch expands on these ideas in another essay on the VISA website.* In this essay she talks about a rebirth of painting. (Some among us would say it never died but that’s a separate debate). In an age of saturation by photo-based images Welch considers painting as relevant as it ever was. Perhaps more so.
The curators want to inspire us to make sense of our own reality. Have they been successful? The show runs until Feb 21st. so go to Open Space and decide for yourself.
The artists and curators will meet in a panel discussion on Saturday, January 17 at 2:00 pm. at Open Space.
· http://tinyurl.com/n7pdf4f
Friday, January 9, 2015
Wednesday, May 1, 2013
Todd Lambeth at Deluge Contemporary Art
 |
| Ziggy, oil on canvas, 14x12", 2012 |
Oh! You Pretty Things
May 17 to June 15, 2013
Opening Friday, May 17, 7 to 10pm
"Since its domestication in Egypt
between 4000 and 3000 BC, the cat has been celebrated in art, as well as
folktales and fables. Etruscan sculptors from 6th century BC, 18th
century painter Jean Baptiste-Simeon Chardin, and contemporary artists
Allison Schulnik and Gillian Carnegie have all drawn upon the cat for
subject matter. Ancient Egyptians were so enamored with their feline
friends that if a cat died in a home of a natural death, all of the
inhabitants would shave their eyebrows in a sign of mourning. If one
were to kill a cat either intentionally or unintentionally, they would
be put to death. We no longer live in a time of such extremes, but the
cat still holds its power over us. In 2010, Canadians owned
eight-and-a-half million cats.
What
interests me most is the cat’s status in the home. This series of 15
paintings -- culled from photographs collected after a request for
pictures on Facebook -- focuses on house cats in domestic interiors.
These small scale, representational works are meditations of space,
time, colour and form and are a deliberate attempt at destabilizing the
icons of modernism. Repeatedly deploying arrangements of fabric,
furniture and architecture, this series is ultimately concerned with
modes of inhabiting space and suggests a compressed urban environment.
These are not paintings of urban hustle; rather they are oases of
meditative calm and reflection. The banal subject of the ubiquitous
family cat is transformed into images that celebrate the humility and
comfort of our private lives."
– Todd Lambeth
Friday, December 28, 2012
Todd Lambeth at Xchanges Gallery
Serially driven and working in the traditional genres of landscape and still
life, Todd Lambeth’s painting practice incorporates a wide range of subjects and
techniques that both celebrate and question the medium. Inspired by, and often
painted from photographs, Lambeth’s paintings translate their initial sources
into richly handled works that push painting in the direction of the documentary.
Perceived as if painted in smoke, Home Grown addresses contemporary social
and cultural issues surrounding marijuana; from depictions of glass marijuana
pipes to appropriated surveillance camera stills of alleged drug traffickers, Home
Grown bridges a gap between art and life.
life, Todd Lambeth’s painting practice incorporates a wide range of subjects and
techniques that both celebrate and question the medium. Inspired by, and often
painted from photographs, Lambeth’s paintings translate their initial sources
into richly handled works that push painting in the direction of the documentary.
Perceived as if painted in smoke, Home Grown addresses contemporary social
and cultural issues surrounding marijuana; from depictions of glass marijuana
pipes to appropriated surveillance camera stills of alleged drug traffickers, Home
Grown bridges a gap between art and life.
Opening Friday January 4th at 7pm
Exhibition continues on Sat/Sun 12-4pm until January 27th
Friday, September 21, 2012
V.I.S.A. Faculty exhibition at the Slide Room Gallery
Vancouver Island School of Art - Faculty Exhibition
Work by Rachel Hellner, Jeremy Herndl, Danielle Hogan, Todd Lambeth, John Luna, Tracey Nelson, Tara Nicholson, Jenn Robins, Xane St Phillip, Marie Ulber, Wendy Welch and Jeroen Witvliet.
Opening Reception : Sept. 21, 2012 @ 7:30 pm
The Slide Room Gallery
2549 Quadra St.
Exhibit ends Nov. 5, 2012
Thursday, July 21, 2011
Christine Clark,Tyler Hodgins,Wendy Welch,Sarah Stein and more at The Mary and Moses Sculpture Garden Show
The Mary and Moses
Sculpture Garden Show
Sculpture Garden Show
artists:
Christine Clark
Debora Alanna
Elyse Portal
Emilio Portal
John Luna
Marlene Jess
Michael Jess
Todd Lambeth
Troi Donnelly
Tyler Hodgins
Sarah Stein
Wendy Welch
Christine Clark
Debora Alanna
Elyse Portal
Emilio Portal
John Luna
Marlene Jess
Michael Jess
Todd Lambeth
Troi Donnelly
Tyler Hodgins
Sarah Stein
Wendy Welch
Friday, July 22, 6-10pm
Saturday and Sunday
July 23 and 24th
July 23 and 24th
1-4:30pm
389 Moses Pt. Rd., North Saanich
contact Christine @ 250-656-7165 for more info or directions.
Monday, November 22, 2010
Todd Lambeth- Artist Talk at Vancouver Island School of Art
Todd Lambeth is a contemporary painter whose work has evolved to a point where concepts of illusion and absence dominate. Lambeth investigates the notion that expectation can create illusion, and argues for a definition of reality based on what is perceived rather than what is materially present.
Todd received an MFA from the University of Victora and attended the Alberta College of Art & Design and Emily Carr University of Art & Design and graduated with honours from the Ontario College of Art & Design. Todd has exhibited across Canada in both artist-run centres and commercial galleries, notably the Edward Day Gallery in Toronto/Kingston, the Ingram Gallery (Toronto) and the Truck Gallery in Calgary.
Todd Lambeth currently teaches at the University of Victoria and will be teaching the Advanced Painting course at VISA in the 2011 Winter Semester.
Event is free of charge.
Event is free of charge.
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