Susan Dobson’s exhibition “Slide/Lecture” makes me homesick. Standing in the darkened, silent gallery space, I am transported back in time, twice, to two difference decades, two different cities, two different lifetimes.
Luanne Martineau created The Knitter Woman in the winter of 2019 in response to an invitation by the Art Gallery of Alberta (AGA). With a curatorial premise that asked artists to “envision and create a ‘nest’ to cope with the end of the world, however it may come about,” the group exhibition was conceived in “response to our current tumultuous and polarized world where we see the rise of Nationalism, the clashing of belief systems, environmental destruction and the fight to mitigate climate change.”
Gillian King’s exhibition “Sediment” at Galerie Nicolas Robert comes at exactly this moment. Here, the stark white walls and grey concrete floors are eased into the season, thanks to the eight telluric canvases that hang evenly throughout the space. These large-scale works are the latest in King’s production—one that is concerned, both on material and philosophical levels, with the relationship among painting, the earth and the body. Their muted palettes of ash and lilac, rust and blush, ochre and sage are derived from dyes and pigments that the artist makes herself, coaxing them out of locally sourced plants such as sumac berries and black walnut, cooking scraps of red and yellow onion, discarded rose petals, and fresh-picked wildflowers, using traditional methods better known in the textile and quilt making trades.
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