Rosenfeld Gallery – March 2014 – Art, Alibi and An Anonymous We – curated show of approximately 55 artists both incarcerated and non incarcerated whose work on a 6-circle is presented anonymously. For more information, see An Open Window
For video on the above two exhibitions see: Treacy Ziegler Art x 2
Odon Wagner Gallery, “Points Of A Compass”
– solo exhibition of monoprints. 196 Davenport Road, Toronto, Ont.
Way of Water: monoprint, 60″80″
FROM CONFINEMENT/THE WAITING
FROM CONFINEMENT/THE WAITING is an installation in two conjoining galleries of the museum. FROM CONFINEMENT is a multi-work installation. Darkened walls and low lighting combine with once-expansive windows now blocked by black- framed paintings; it is reminiscent of a monk’s cell or a prisoner’s. THE WAITING is an installation of two monumental monoprints each over 80 inches wide. Both are of boats.
“The geography of confinement consists of the wall, the windows and the waiting.”
“I don’t have any easy conception of a chapel. A chapel could be that lovely place called the Giotto Chapel or the prison chapel that looks like something from Wal-Mart. It is not the point of this show to document any chapel but to let the eyes wander on baroque-like images that pull the viewer closer; paintings of creatures. Creatures as such do not justify their being: they are. This has been my experience meeting with individuals in prison. I experience no burden for helping anyone become any other than whom they are. Furthermore, I do not think art is a medium that creates good people or bad people: art is. This “letting” go of agendas, of function, of categories to me is sacred. It removes that which creates barriers.”
“I was made curious by the “absence of space” in these windows boxes of the gallery. There was no wall and walls for art offer safety and tradition. However, because there was no wall, the pieces I developed for this part of the gallery developed a different kind of freedom; to be doubled-sided and to suspend from the top. My initial idea was to have light come from behind the image. The light, however, comes from three different sources: from inside the piece; from the room; and from the surface of the piece (the gold leaf). Of course, windows provide a metaphor for looking out from a confined space. But, like prison, there is really very little looking out. It is more of a sinking in; a border within a border within a border.”
“I first was struck with the imagery of the gondola when I witnessed the emerging front of the boat from the darkness of a tunnel in Venice. The boat seemed to be emerging on its own volition without the manpower of a boatman. I was later struck with the image of a gondola in the Robert Browning’s house in Venice. This boat was out of water. I have always been intrigued with things out of their “element;’ the boat out of water; the bird that can’t fly; an inmate without a home; the thing or creature or person in a state of waiting. In these monoprints, I returned the boat to its element except I attempted to maintain another kind of dichotomy; that of form (the boat) against the non-form of the sea; the density of the color black against the diaphanous color of the sky and water; the balancing act of waiting between there and not there.”
The present show at the Arnot Art Museum is an evolution of imagery from the experience of both exhibiting my art in prison and in the experience of moving in and out of confined spaces. There is an intensity in going into prisons; this is space that is charged with the definition of “worth of being.” Prison is where “worth of being” is brought into focus for society. However, and perhaps romantically, I imagine that on sacred ground there can be no question in the worth of being and for this reason, I chose the “chapel” as the framework of the installation.
(check back for specific dates)
This exhibition will take place in two conjoining galleries in the museum. From one gallery to another, I want to emphasize interior into exterior; constricted space to non-constricted space; formal to informal; dark into light.
The word confinement suggests two things…one; (dud) confined space, and second; a reference to the archaic term describing the time when a woman went into childbirth. This time once was described as one’s “time of confinement.” I like the double meaning of confinement in this way; both a constriction of being and a time for creation.
For the first gallery, which will suggest a prison chapel, I am working on imagery that invites the viewers close scrutiny; small formally- framed icons, mostly of animals, but also of small interior places and iconic landscapes. The light from these paintings will come from three sources: From within the painting (lighting behind the painting); from the reflection of the gold/ cooper or silver leaf; and from the room. The light from the room will be surgically directed light.
Two gold panel doors will funnel the viewer into the second gallery which leads to another kind of space that of openness and expansiveness. The light in the room is diffused (from the window). The imagery will be three informal large prints (60″ by 20 feet triptych) as large as I can manage that will be tacked to the wall. I am thinking mostly of boat imagery and open water