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CRAM Gallery
Canada's Smallest Art Gallery
Algo Cubano
Jorge Luis Chávez & Yordanis López Acosta
January 20 - 31, 2012
Opening: Friday, Jan 20th, 7 - 11 pm
Jorge Luis Chávez, "Suenos Rotos", acrylic / lienzo, 18 x 24 xm, 20ii
Yordanis López Acosta, "Almendron, acrylic / lienzo", 65 x 50 cm, 2011
Jorge Luis Chávez and Yordanis López Acosta live in the same small village some 20 kilometers north west of Santiago de Cuba. Neither Yordanis nor his older peer, Professor Chavez like the city. They work in isolation and without the distractions of the schools and collective workshops. To have their refuge, they accept the 3 - 6 hour journey to the city to work their jobs. It all depends on the time of day, day of the week, and when holidays occur.
Chávez is well known in St. Catharines and many CRAM patrons have his paintings in their collections. His passions are the endangered environment and the restrictions on the Cuban people. His meticulous technique and contemporary, surreal approach to the subject matter has taken a new direction with this new suite of paintings. This time Chavez constructs a different narrative with his son as the main character; as people and objects transform into landscape, his young son is clearly the agent of change. The selection of paintings for this exhibition have all been produced since his 2009 residency and Pan Café show.
Yordanis, on the other hand, is not well-known in Cuba and is a somewhat precotious, shy, and unassuming emerging artist. Even the artists in the community known little of his work, although he just had a one person exhibition in November at Casa de Caribe in Santiago de Cuba. Yordanis puts a personal spin on his appropriations of the Old Masters and the tradition of Cuban Surrealism he embraces, and his technique is impeccable. From Bosch to Velasquez, part of the provocation of his paintings are the dense underpinnings of art history, the rest is his imagination.
Algo Cubano, or "Something Cuban", is the first response to my 6 week residency in Cuba….
Tobey C. Anderson
International Artist Residency Program
Deborah Carruthers
Beautiful Ghosts – Chandeliers and Sound Installation
November 4 - 29, 2011
Opening Reception: Friday, Nov 4th 7 - 11 pm
Like a moth to a flame we become helpless / to the beautiful ghosts that true love sheds.
From the Ryan O'Neal song "All that is Beautiful"
This installation was inspired by a sound that I have always associated with night-time in spring, summer and early fall: insects beating against lights. The sound of wings hitting lampshades and the bodies flung rhythmically, again and again, is compelling, hypnotic, haunting, futile and somewhat tragic.
From porch lampshades in late fall I collected the bodies of those that had attempted to immolate themselves, instead likely dying from exhaustion brought on by an unattainable goal. Examination revealed legs bent in arabesques, artfully furled proboscises, delicately veined wings, and eyes that still glistened like small faceted jewels.
Memorials to persistent desire, in turn immortalizing their ephemeral beauty, are chandeliers festooned with small drawings of nocturnal insects.
The barely discernable whisper of tissue-thin wings, the susurrating as they cluster around the microphone and the "tick-tick-tick" of their bodies hitting glass have been amplified, creating sounds that could have been made by humans imitating their insistent dance. It feels both familiar and strange; loud murmurings of beautiful ghosts.
Beautiful Ghosts - chandeliers & mixed media
Persistent Desire - audio
Beautiful Ghosts & Persistent Desire were installed at The Gladestone Hotel for Nuit Blanche 2011.
Deborah Carruthers is a Visual Artist and Curator living in Montreal. Her recent projects include Seeds in Disguise, works in conjunction with a travelling ROM show; until November 7th at the Balls Fall Conservation Center in Niagara and Echoes, curated photographic documentation and selection of work by artists influenced by Francoise Sullivan and her Danse Dans La Neiges, 1948: Luis Jacob, Jean-Paul Riopelle, Tom Scott, and Carolyn Wren.
Interlocution
Penelope Stewart & Lise Vézina
October 15 - November 2, 2011
Opening Reception: Saturday, Oct 15th, 7-10 pm
Interlocution, excerpts from Jumelage, a collaboration between Penelope Stewart and Lise Vézina
Interlocution is an exhibition comprising the work of Penelope Stewart and Lise Vézina as part of an exchange between artists working at Open Studio (Ontario) and Engramme (Québec). The premise of Jumelage, the twins or mirroring became the starting point for the many discussions the artists shared in developing their project. They discovered they had a mutual interest in collections of textiles, architecture, bits of text, old and new photographs, and curiosities. They also loved the intaglio plates used to create paper editions and multiples. With these overlapping and sometimes eclectic interests they decided to explore the metal plate as both sculpture and print matrix. Using the intaglio process, the zinc, metal and stainless steel plates have been acid etched with the impressions of intricate bits of lace, floor plans, architectural structures, text, photographs, keys and traces of the body. The plates have been rusted or are highly polished like mirrors and through the materials and pattern uncanny relationships are made.
Alan Flint
ECHO
September 10 - October 9, 2011
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| Echo was originally an exhibition of works on paper by Alan Flint and Harold Klunder shown at the Grimsby Art Gallery in 2002. Flint spent a full year to create 75 images and selected 24 works for the Grimsby show. The exhibition at CRAM will feature a select few of these images from the original Grimsby show. The images have a wonderful sensuality in the way the materials are used. Flint refers to the process of applying heavy amounts of pastel to these works as “composting with colour”. He states that one idea for the series was an attempt to liberate the individual letters from the structure of the selected words through a “visual means”. All the words used in the Echo exhibition reflect something about the general state of words themselves. Words express abstract ideas and Flint’s drawings demonstrate how the ideas and various meanings for words can be challenged. |
Azulejos
Danny Custodio
May 27 - June 21, 2011
Azulejos are a traditional form of Portuguese ceramic tile work. They are a common aspect of the Portuguese culture that dates back to the 18th century. These mosaics, both small and grand in scale, typically depict religious scenes or folk legends. These tile murals can still be seen today mounted on the facades of homes in the Portuguese community.
In this body of work I use this traditional method of story telling to provide glimpses into the life of the labourer. As a Portuguese male, my patrilineal history is deeply routed in a long line of hard working men who built cities, railways and cultivated farmlands. I assume the roles of those who laboured not only for survival, but for the love of tending to a garden and the sense of pride that ensues. This work is a means to piece together tales passed down by my ancestors and in re-enacting these moments I too am part of the history.
Though traditionally painted by hand, the pieces I have created are comprised of contemporary photographs printed directly onto the tile surfaces. Followed by a process of mounting them and applying grout, my artistic process acknowledges the very history of artisans and labourers. Using the skills acquired by my father, my intention is to depict his experiences and sacrifices, which in many ways have brought me to where I am today.
Exhibition Assistance Program
Natural Frequencies
Duncan MacDonald
April 29 – May 24, 2011
Opening reception: Friday, April 29th, 8pm
Chladni Print 1.3, archival print on aluminum, 12” x 12”, 2010
Natural Frequencies is a shape-shifting solo exhibition by St. Catharines-based artist Duncan MacDonald. Chladni vibratory membranes, the natural resonant frequency of the gallery, analog amplification of silence and other pseudoscientific investigations into the nature of sound will unfold throughout the course of this solo exhibition.
The Cram Gallery will function as a studio and lab for the artist throughout the duration of the exhibition. People wishing to book an appointment with the artist in the gallery/studio can contact him at email.
website for duncanmacdonald
In the Soil, Niagara’s Homegrown Arts Festival April 27th- May 1st Duncan has contributed a video work as part of this year’s In the Soil Arts Festival. For further details about the festival and his artwork, please see: inthesoil.
Minute
A Mixed Media Installation by / Une installation de
Laurent Vaillancourt
April 1 - 26 / Du 1er au 30 avril 2011
Opening Reception/Vernissage: Friday April 1st @ 8 pm / le 1er avril à 20h
Born in Hearst, Northern Ontario, Laurent Vaillancourt was among the leaders spearheading the awakening of the Franco-Ontarian arts community of the early 1970s, a movement which led him to choose Hearst as his base and art as his calling. Hearst is a predominantly French speaking community. In terms of his art, Vaillancourt’s practice is not limited to one medium or concept. His early artistic explorations were with macramé, which evolved to steel cable, with incursions into theatrical set and landscape design. Found objects are becoming an important part of the base material Laurent uses. These objects carry a message: they are artifacts, with a story to tell. “Minute” his latest body of work is in that vein.
“Minute”, small objects sandwiched in lenses, as in air bubbles, turned into time capsules; events and moments important either to me or to us. Hey, wait a minute....
“Minute”, is a bilingual title, ‘minute de vie’ in French and small things of life in English. In French I am referring to time, in English to scale. This body of work was inspired by the cleaning of the house of my parents when they left to go live in a long term care home. My mother kept everything. I have found memories of my childhood, but also small objects chronicling a bygone era.
Found objects are becoming more and more part of my base materials. For me, these objects bear meaning. They are artifacts. They tell. In "Minute" I want to showcase small objects that allow us to remember and to tell, about past ways. "Minute" is about placing under glass these small everyday objects that slip out of history museums.
These found objects are placed between two lenses. The lenses are from an eyewear manufacturing company which closed its doors. They were offered to me knowing that I could give them a second life.
My wish is that the title of each minute will have a bilingual connotation, like "minute" which has a different meaning from French to English. As for the lenses, they also have an effect on the object but especially on the background, the beyond.
Minute, def. measuring concepts. 1. time dimension, example in French, “minute de vie”. 2. size dimension, example in English, “small things of life”.
Laurent L Vaillancourt
Né à Hearst, dans le Nord de l'Ontario, Laurent Vaillancourt était parmi les leaders menant l’éveil de la communauté Franco-Ontarienne du début des années 1970, un mouvement qui l'a poussé à choisir Hearst comme sa base et de choisir l’art comme son métier. Hearst est une communauté à forte concentration francophone. En termes de son art, la pratique de Vaillancourt n'est pas limitée à un moyen ou concept. Ses premières explorations artistiques étaient avec le macramé et le dessin, elles ont évolué vers le câble d'acier, avec des incursions dans le jeu théâtral et l'architecture de paysage. Les objets trouvés deviennent une partie importante du matériel de base que Laurent utilise. Ces objets portent un message : ils sont des artéfacts, avec une histoire à raconter. "Minute" son dernier corpus de travail est dans cette veine.
« Minute », de petits objets, serrés entre des lentilles, comme des bulles d'air métamorphosées en capsules de temps; elles expriment des événements ou moments signifiants pour moi, ou pour vous. Hé, attendez une minute....
« Minute » se veut un titre bilingue, minute de vie en français et ‘small things of life’ en anglais. En français je fais référence au temps; en anglais, à l’échelle de grandeur. Ce corpus de travail fut inspiré par le nettoyage de la maison de mes parents lorsqu’ils l’ont quittée pour se rendre habiter à la maison de soins de longue durée. Ma mère gardait tout. J’y ai retrouvé des souvenirs de mon enfance mais aussi de menus objets relatant une époque révolue.
Les objets trouvés sont de plus en plus des éléments qui font partie de mes matériaux de base. Pour moi l’objet est porteur de sens. C’est un artéfact. Il sert à raconter. Dans « Minute » je veux mettre en valeur de petits objets qui permettent de se rappeler et de raconter à des plus jeunes des habitudes passées. « Minute », c’est mettre sous verre ces petits objets usuels qui échappent aux musées d’histoire.
Ces objets sont placés entre deux lentilles. Les lentilles proviennent d’une entreprise de fabrication de lentilles pour lunettes qui a fermé ses portes. Elles m’ont été offertes sachant que je pourrais leur donner une deuxième vie.
Le titre de chacune des minutes, se veut évocateur et de préférence à connotation bilingue, tout comme « minute » qui peut avoir un sens différent d’une langue à l’autre. Les lentilles ont aussi un effet sur l’objet et particulièrement sur l’arrière plan, l’au-delà.
Minute, déf. concepts de mesures. 1. mesure de temps, l'exemple en français, " minute de vie". 2. mesure de taille, exemple en anglais, "les petites choses de la vie".
2911 Senior Artist Grant
embrace
paintings by
bill bissett
March 4 - 22, 2011
Opening Reception Friday March 4th 8 pm
Poetry Reading 9 pm
bill bissett originalee from lunaria was on th first childrns shuttl
from that planet wch is veree far away landid in halifax bcame
immediatelee puzzuld by erthling wayze trying 2 hang in as much
as possibul with life on erth bgan painting erlee c. 10-11 whn i
was in th oxygen tent n wasint allowd 2 dew aneething bgan
writing thn as well pickd both up latr n have alwayze wantid 2
keep going on with both wundrful aktivitees alwayze wanting 2
xploor image lettr shape stroke colour sound th picksyurs in th
th lettrs in th images in th lettrs have shown at th vancouvr art
galleree modern fuel selby hotel just deserts 519 london art
museum art scene secret hand shake art galleree forest citee
art galleree most rece shows cowichan duncan art galleree bc
n th rob schouten art galleree whitby island washington state
most recent books time 2010 from talonbooks sublingual
20009 talonbooks
most recent cd ths is erth thees ar peopul with pete dako
blu loon producksyuns 2008
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CRAM International and The Littlest Print Exchange present
The New Cliché
50 prints by 50 artists
Jan 20 - Mar 1, 2011
Collateral Damage, Tobey C. Anderson, 3 colour waterless litho
Preview: Thursday, January 20th, 8 pm The Littlest Print Exchange at Canada’s smallest art gallery is an exhibition of 3” x 3” prints by 50 international artists. José Armando and Tobey C. Anderson represent CRAM Press with 48 print artists from Canada, United States, United Kingdom, Germany, Australia, Italy, India, and Israel. cli-ché also cliche (kl-sh) n. 1. A trite or overused expression or idea: "Even while the phrase was degenerating to cliché in ordinary public use . . . scholars were giving it increasing attention" (Anthony Brandt). 2. A person or character whose behavior is predictable or superficial: "There is a young explorer . . . who turns out not to be quite the cliche expected" (John Crowley). Sales of these rare, miniature original prints will support the project and CRAM Press, Niagara’s only professional artist-run print workshop. Because only one print by each artist is available for purchase, the doors will open early for a preview before the exhibition’s opening reception. The Littlest Print Exchange is coordinated by Christopher Clark Catered by The Office Tap & Grill |
Terry Pfliger
The primary purpose of this series of painted drawings, Civility, comes from the perceived need to establish correct habits of living and it is generally recognized that information is not enough In hygiene, as in morals, most people know much better that they do - knowledge of facts is something, but their practice is everything. If each day we do the same thing in the same way we soon form a habit that makes the act easier and more certain. The facts found and the positions taken within this series are in accord with the latest teachings of science. Join with me and the world will be much better and happier!” Terry L. Pfliger comes to CRAM from ‘way back then’, when he first established ties to St. Catharines in the mid 1970’s while living in Kingston. At that time he was actively involved in the artist-run scene in Ontario while a studio prof at St. Lawrence College and he was instrumental is establishing Modern Fuel Artist-run Centre as a Founding Member. He returned to his native Michigan in 1995 where he continues to work as an artist and teacher. Pfliger has been exhibiting since 1969 and has work in numerous private and public collections in Canada and the United States including the Agnes Etherington Art Centre, IBM Corporation, Kalamazoo Institute of Arts, Canada Council Art Bank, Arrow wood/Hampshire Collection, and the Manlove/Goode Collection. He is currently exhibiting at Andrew’s University in Michigan. |
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