April 2 – June 26, 2021
April 2 – June 26, 2021
Brobdingnagian is a solo exhibition of new photocollages by Toronto-based artist Aaron Jones. Made from magazine clippings, advertisements, newspapers and youth books, Brobdingnagian incorporatesphotography, and sculptural work that stem from a series of expeditions through forests that have expanded his botanical knowledge and understanding of self in relation to that land.
For Jones, the act of collage-making is part of a journey of self-discovery; to see one’s self separate from the stereotypical constructions of people and places in media. In previous work Jones focused on the body’s nuanced performative potential. By using collage Jones denies and shifts the images from their original meaning to explore ideas of the self and make visible how conflicting realities are constructed and imagined. This exhibition intends to situate collaged characters and figures that represent the self in environments in which the Jones grew up around and yearns to know more of.
Isabel Wynn’s practice of building is linked to her relationship with the intrinsic bodily movement in response to clay.
Girly Pics – Someone Else’s History
Wait Until Dark
Artificial Shrimp and Other Simulacra
Howard495 is pleased to present “heather”, a group exhibition featuring work by Daniele Buetti, Robert Longo, Lisa Yuskavage, Banksy, Tim Gardner, Richard Prince, Willy Ronis, Luce Meunier, Miwa Ogasawara, Yousuf Karsh, Jonas Wood, Rene Groebli, George Tice and Caj Bremer.
Marked by an historical moment in time and a collective feeling of melancholy, “heather” provides a framework with which to explore melancholia as an aesthetic emotion. Though the works exhibited display an orchestra of form, concept and media, there is a sublime underpinning of meditative contemplation running throughout the work. This subliminal expression – not of thought but of pure emotion – is an unheralded gift. A reminder of the potential art has to invite its viewers to bear witness to their own feelings and to explore the raw edges of their conscience self. Melancholy, nuanced with sadness, suffuses the exhibition yet somehow does not elicit sadness; rather, through the work it carries us inward to a place of stillness and introspection. Attending to and contemplating what we are feeling, is where the beauty lays.