CURRENT EXHIBITION:

ALMOST THEREFORE

works by Romas Astrauskas, Jonathan Scott and Kris Knight

 

L to R: Romas Astrauskas, Jonathan Scott, Kris Knight

L to R: Romas Astrauskas, Jonathan Scott, Kris Knight

L to R: Romas Astrauskas, Jonathan Scott, Kris Knight

L to R: Romas Astrauskas, Jonathan Scott, Kris Knight

Kris Knight Kris Knight is a Canadian painter whose work examines performance in relation to the construction, portrayal and boundaries of sexual and asexual identities. Drawing from personal histories of rural escapism through imagination, Knight paints disenchanted characters that are lost between youth and adulthood; they hide their secrets, but desperately long to let them go. His mythical and ambiguous portraits are a synthesis of fantasy and real-world memory; they tiptoe between the dichotomies of pretty and menace, hunter and hunted, innocence and the erotic. Within their apparent ambiguity, Knight’s sensitive paintings and portraits evoke a series of shifting emotions, themes and experiences – from loneliness, competiveness, numbness, loss, and love, to the need to seek attention, the need to put on airs and perform, the need to cope and the need for privacy.  Some works are dark and melancholic; others are tinged with notes of humor and sensuality, sweetness, elegance and light.  Throughout Knight's professional practice, he has created thematic bodies of work that reference historical notions of regality, mysticism, romanticism and symbolism. He often skews these concepts with contemporary interests in androgyny, fashion, psychotropic alterations and the post-modern gaze. Knight's lustrous classical cum illustrative figurative paintings, stride between a contradicting palette of sensual primaries and ghostly pastels, reflecting his adoration for 18th Century French portraiture and Polaroid film.  Kris Knight (b. 1980, Canada) is a Toronto based artist who received his Associate degree from the Ontario College of Art and Design (OCADU) in 2003.  His work has been shown internationally over the past decade including solo and group exhibition and art fair features in Toronto, New York, Miami, Paris, Amsterdam, Copenhagen and Los Angeles and has been featured in numerous publications such as Interview Magazine, Vogue, Public Art, Harper’s Bazaar, The Globe and Mail, WWD, The Miami New Times and L’Officiel Hommes.  His work is included in numerous public and private collections including the Royal Bank of Canada, The Beth Rudin DeWoody Collection, The Oppenheimer Collection, The Nerman Museum of Contemporary Art, 21C Museum of Contemporary Art, The Agnes Etherington Art Centre of Queen’s University, and corporate collections like Gucci, with whom the artist collaborated with in 2014/15 on numerous projects including a dark and mystical reimagining of the house’s iconic floral pattern dubbed “Flora Knight”.

Kris Knight

Kris Knight is a Canadian painter whose work examines performance in relation to the construction, portrayal and boundaries of sexual and asexual identities. Drawing from personal histories of rural escapism through imagination, Knight paints disenchanted characters that are lost between youth and adulthood; they hide their secrets, but desperately long to let them go. His mythical and ambiguous portraits are a synthesis of fantasy and real-world memory; they tiptoe between the dichotomies of pretty and menace, hunter and hunted, innocence and the erotic.

Within their apparent ambiguity, Knight’s sensitive paintings and portraits evoke a series of shifting emotions, themes and experiences – from loneliness, competiveness, numbness, loss, and love, to the need to seek attention, the need to put on airs and perform, the need to cope and the need for privacy.  Some works are dark and melancholic; others are tinged with notes of humor and sensuality, sweetness, elegance and light. 

Throughout Knight's professional practice, he has created thematic bodies of work that reference historical notions of regality, mysticism, romanticism and symbolism. He often skews these concepts with contemporary interests in androgyny, fashion, psychotropic alterations and the post-modern gaze. Knight's lustrous classical cum illustrative figurative paintings, stride between a contradicting palette of sensual primaries and ghostly pastels, reflecting his adoration for 18th Century French portraiture and Polaroid film.

 Kris Knight (b. 1980, Canada) is a Toronto based artist who received his Associate degree from the Ontario College of Art and Design (OCADU) in 2003.  His work has been shown internationally over the past decade including solo and group exhibition and art fair features in Toronto, New York, Miami, Paris, Amsterdam, Copenhagen and Los Angeles and has been featured in numerous publications such as Interview Magazine, Vogue, Public Art, Harper’s Bazaar, The Globe and Mail, WWD, The Miami New Times and L’Officiel Hommes.  His work is included in numerous public and private collections including the Royal Bank of Canada, The Beth Rudin DeWoody Collection, The Oppenheimer Collection, The Nerman Museum of Contemporary Art, 21C Museum of Contemporary Art, The Agnes Etherington Art Centre of Queen’s University, and corporate collections like Gucci, with whom the artist collaborated with in 2014/15 on numerous projects including a dark and mystical reimagining of the house’s iconic floral pattern dubbed “Flora Knight”.

Kris Knight, Purple Blue, Summer 96, 2017, oil on prepared cotton paper,  image : 14x11inches

Kris Knight, Purple Blue, Summer 96, 2017, oil on prepared cotton paper,  image : 14x11inches

Kris Knight, Golden Hollyhock, 2017, oil on prepared cotton paper, image: 14 x11 inches

Kris Knight, Golden Hollyhock, 2017, oil on prepared cotton paper, image: 14 x11 inches

Jonathan Scott "What does the act of fictioning afford us? Diminished responsibility or new methods of engagement? The tension between antagonism and trust is a critical dynamic that complicates an artwork’s reception. Devolved Sculpture, it is the gap that separates the world of words from the world of images and objects. By encouraging a subjective untethering Devolved Sculpture seeks to activate simultaneous perceptions within a practice of diagrammatics."-Jonathan Scott Jonathan Scott is a Scottish artist based in Toronto. Scott completed an MFA at the Glasgow School of Art in 2005 and is currently a PhD candidate at York University. He has exhibited internationally as well as having received grants from recognised institutions, such as the Glasgow Sculpture Studio, the Henry Moore Foundation and most recently Toronto Arts Council and Ontario Arts Council. Group exhibitions include “More than two, Let it make itself” at the Power Plant Toronto and “Ex Libris” at Galeria Impakto, Lima, Peru. 

Jonathan Scott

"What does the act of fictioning afford us? Diminished responsibility or new methods of engagement? The tension between antagonism and trust is a critical dynamic that complicates an artwork’s reception. Devolved Sculpture, it is the gap that separates the world of words from the world of images and objects. By encouraging a subjective untethering Devolved Sculpture seeks to activate simultaneous perceptions within a practice of diagrammatics."-Jonathan Scott

Jonathan Scott is a Scottish artist based in Toronto. Scott completed an MFA at the Glasgow School of Art in 2005 and is currently a PhD candidate at York University. He has exhibited internationally as well as having received grants from recognised institutions, such as the Glasgow Sculpture Studio, the Henry Moore Foundation and most recently Toronto Arts Council and Ontario Arts Council. Group exhibitions include “More than two, Let it make itself” at the Power Plant Toronto and “Ex Libris” at Galeria Impakto, Lima, Peru. 

Jonathan Scott

Jonathan Scott

Romas Astrauskas   Goddess of Disillusionment of the Ethereal and Spiritual Palace in the Sphere of the Primordial Void push back the veil behind which all has been concealed! trees swell and the clouds race in the suicide of the Cosmos by shame foreshadow the passage through this dimly lit stage a desolate ball of tumbleweed, emerging all of a sudden in contrary mutation to that recipe of weariness, the senselessness of things of blue and flickering tongues a champagne taste metallic   Romas Astrauskas, an MFA graduate of Parsons School of Design in New York, is a Toronto based artist and writer. He has exhibited extensively throughout the city participating in numerous group and solo shows within the commercial gallery circuit and has also had work displayed in several museum surveys including appearances at the Power-Plant (Toronto), The Plug-In Institute (Winnipeg) and the Art and Culture Centreof Hollywood. Examples of work from his eclectic and varied output can be found in several numerous private and corporate collections.  

Romas Astrauskas

 

Goddess of Disillusionment

of the Ethereal and Spiritual Palace

in the Sphere of the Primordial Void

push back the veil behind which all has been concealed!

trees swell and the clouds race

in the suicide of the Cosmos by shame

foreshadow the passage through this dimly lit stage

a desolate ball of tumbleweed, emerging all of a sudden

in contrary mutation

to that recipe of weariness, the senselessness of things

of blue and flickering tongues

a champagne taste metallic

 

Romas Astrauskas, an MFA graduate of Parsons School of Design in New York, is a Toronto based artist and writer. He has exhibited extensively throughout the city participating in numerous group and solo shows within the commercial gallery circuit and has also had work displayed in several museum surveys including appearances at the Power-Plant (Toronto), The Plug-In Institute (Winnipeg) and the Art and Culture Centreof Hollywood. Examples of work from his eclectic and varied output can be found in several numerous private and corporate collections.

 

Untitled, 2015, latex acrylic on canvas, 12 X 12 inches

Untitled, 2015, latex acrylic on canvas, 12 X 12 inches

Untitled, 2015, enamel on canvas,  36 X 24 inches

Untitled, 2015, enamel on canvas,  36 X 24 inches

Untitled, 2017,  enamel on plywood, 46 X 38 inches

Untitled, 2017,  enamel on plywood, 46 X 38 inches

Witch Laughs at Moon,  2017,  enamel on plywood,  36 X 24 inches

Witch Laughs at Moon,  2017,  enamel on plywood,  36 X 24 inches

Untitled (feathers), 2017, acrylic on canvas, 10 x 8 inches SOLD

Untitled (feathers), 2017, acrylic on canvas, 10 x 8 inches SOLD