CAITLYN MURPHY: MARKET STUDIES: October 14, 2016 - October 30, 2016
NO FOUNDATION is pleased to present an exhibition of new paintings by Toronto-based artist Caitlyn Murphy.
Market Studies continues Caitlyn Murphy’s enduring occupation with the visual landscape of the everyday: front yards, window views, recreational sports, corner store displays and consumer goods. Working in gouache on paper, she remains committed to a unique style of realism; slightly odd and off-centred compositions are favoured in order to quietly allude to the underlying strangeness in our observable world.
Referential to the historic tradition of still-life fruit paintings, Murphy’s inspiration comes from her immediate daily surroundings, in this case the variety stores she passes on her daily walk to the studio. This series participates in the act of representing the hyper-local that is at the same time universal. As subject matter, storefront fruit displays are always incidental and dynamic in their composition, perpetually re-composing themselves as customers and store owners add and subtract from the tableau.
Born in 1988, Caitlyn Murphy lives and works in Toronto where she graduated from the Illustration program at the Ontario College of Art and Design in 2015. She previously earned a BA in Philosophy from McMaster University. Murphy was the recipient of the Project 31 award, and was featured in CMYK Magazine’s Top New Creatives issue in 2013 and 2014 concurrently. Caitlyn has shown in numerous galleries throughout the city including a recent solo exhibition, Window Studies at Northern Contemporary gallery. Her work has been published by Chronicle Books, and she has an upcoming book project that will be published by Toronto’s Swimmers Group press.
DEBORAH WANG: PHANTOM LIMB: October 14, 2016 - October 30, 2016
NO FOUNDATION is pleased to present Phantom Limb, a presentation of sculptural works by Deborah Wang in our window space.
“If there is an axiality to these sculptures, it is one (with few exceptions) that only exists in the ground. These are conceptual plugs for, and of, the earth. When removed from the earth—the site of their making—they have an uneasy relationship with new sites. This new ground is a foreign ground. It cannot support the sculptures as the earth did. Being effectively unearthed and siteless, they become nomadic. They are itinerant gravestones. They enter the space that art critic and theorist Rosalind Krauss calls the monument’s “negative condition.”1 They are base and (abstracted) figure as one. They are from the earth, and about the earth, but not rooted in the earth. They are about the encounter between the living and the dead. They mark the past in the present.”
-Deborah Wang, 2016
Based in Toronto, Deborah is an independent curator and designer. She holds a Master of Architecture from the University of Waterloo, and a Master of Fine Arts from OCAD University.
Through her diverse practice, Deborah has curated and co-curated exhibitions for the Textile Museum of Canada, Gladstone Hotel, XPACE Cultural Centre, and the Art Gallery of Ontario; worked with Katharine Mulherin Contemporary Art Projects; and taught design studio at Ryerson University. She has exhibited in Toronto and abroad, and presented her art and design work as a guest speaker in academic and cultural forums.
Currently, Deborah splits her time as Creative Director of the Toronto Design Offsite Festival, a senior designer for superkül, and as a scholar/maker.