Tag Archives: In the Balance

Balancing Act

In the Balance

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A selection of works from the collection that articulate the tension between idea and thing, form and matter, making and thinking. This exhibition highlights objects from the collection that generate a tension between formal control and the innate shaping properties of the materials of art—their density, structure, colour and texture. These works focus more on internal dynamics than they do on recognizable content—the relationship between an idea, figure or process and the consistency of its “support,” whether beeswax, whalebone, acrylic paint or Masonite. Focusing primarily on ostensibly formal issues these works actually reveal in their structure a resistance to persistent myths with social and ecological implications—the autonomy of the artistic statement, and the elevation of the artist to the status of a commanding, godlike shaper of inert material. In these works, artists confront a problem—the necessity of making a gesture that is at the same time receptive to the impact of other forces. The works ultimately oscillate between presenting a unifying solution and a disharmony that pulls them apart, opening them to the larger world.

PEI Professional Theatre Network

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PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse

Hanging in the Balance

At the CCAG: Collections Show ‘In the Balance’ Explores Tension of Form and Content

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A new exhibition opens next week at the Confederation Centre Art Gallery (CCAG) focusing on the delicate balance in visual art between the material and immaterial. With selections gleaned from the Gallery’s permanent collection, In the Balance explores the tension between form and concept; ideas and matter; making and thinking.

Curated by Pan Wendt, this exhibition opens in the Upper West Gallery at CCAG on Saturday, April 27 and will be on display until the end of the summer, closing September 22, 2019. The works are primarily modern paintings that carry a very material quality.

“There is a long history in Western art of giving priority to design, to the mental picture, to drawing over colour, line over material, spirt over matter,” remarks Wendt. For example, in Renaissance Italy, where so many of our collective ideas about art were first articulated,  this manifested as two rival aesthetic approaches to painting—‘disegno’(design or drawing) versus colore (colour).

Continues Wendt, “We tend to think of perception in terms of the spiritual, or a disembodied experience of form, separated from its material basis, but in fact we are led by touch and other non-visual senses. And thought is itself intertwined with the whole body.”

Following the late 1960s, when this prominence of the formal, conceptual, and ‘optical’ were at their critical height, visual artists increasingly began to develop abstract pieces on the basis of a more materially-grounded conception of the work of art. That is, a process where there the idea stage and the material process were granted equal influence in the final product, and the physical process of making was emphasized.

Featured Canadian examples in the exhibition—from 1970s to the present—include works from: Ron Shuebrook, Harold Klunder, Aganetha Dyck, Ingrid Mary Percy, and Lionel Stevenson. For more information, please visit, confederationcentre.com/gallery

PEI Professional Theatre Network

28660348_162333201093170_735205771249634989_n

PEI Theatre is the Guild, Harbourfront Theatre,
Confederation Centre for the Arts,
Watermark Theatre, and the Victoria Playhouse