Pigment NYC and Toronto

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Pigment is a group photography exhibition that explores the concept of colour through the historical gum bichromate process. Each photographer has two prints in the show, printed by Bob Carnie.

Artists

Lori Ryerson, Linda Kooluris Dobbs, Bryan Helm, Bob Carnie, Shelagh Howard, Thomas Brasch Brendan Meadows, Ian Campbell, Cory Wilyman, Lorraine Parow, Guy Lafontaine, Paulette Michayluk, Janet Holmes, Alan Dunlop, Laura Paterson

*New York April 6 and 7 Bushwick Community Darkroom*

Pigment will pop up at the Bushwick Community Darkroom April 6 and 7 2018. These dates were chosen so that participating artists who wish to visit the city during the exhibition can attend The Photography Show presented by AIPAD.

Facebook event HERE

*Toronto | May 2-June 29 Lonsdale Gallery*

The prints will return to Toronto where they will become a part of Red Light, an exhibition at Lonsdale Gallery. This juried salon show will exclusively feature alternative prints by artists from around the world. Red Light is a feature show in the CONTACT Photo Festival.

Lori Ryerson Gum Bichromate-Prop Plane, Deer Lake

Lori Ryerson

 

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Alan Dunlop

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Thomas Brasch

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Artist Spotlight: Janet Holmes

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

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Statement

I have always loved animals, but for many years I was afraid to get involved with animal rescue because I couldn’t imagine how I would deal with the heartbreak. A few years ago, I decided that animals needed me more than I needed to be comfortable, and I began volunteering for animal rescue groups as a photographer and caregiver.
In January 2017, during my volunteer shift at the Wild Bird Fund in New York City, I met a hen who was suffering from severe and chronic reproductive illness. I discovered that her ailments were common for chickens like her. As I learned more about chickens, I discovered a network of vegans (primarily women) who rescue and care for them. I thought about how so many women still struggle to control their own bodies and obtain adequate reproductive health care, and how people in turn are socialized to exploit hens’ reproductive systems. Even across species, it seems that society expects to dictate how females use their own bodies.
And so I began photographing these chickens and their rescuers to pay tribute both to the birds who have suffered so much and the women who invest so much love, time and money caring for them.

How has your photographic process been informed by your experiences

As I spent more time experiencing animals as individuals through the lens of my camera, I began questioning how I could profess to love them yet continue exploiting them for food, clothing and other materials. I committed to become vegan and use photography to advocate for animal liberation.

My values as a vegan influence the subjects I photograph, the materials I use, and how I make photographs. For example, I avoid as much as possible any materials (like gelatin in traditional film and certain papers) that are derived from animals. As part of my photographic process, I sit with my animal subjects, witnessing their existence and importance as individuals, not objects. I invite them to experience me through sight, smell, touch and taste – on their own terms and in their own time. When possible, I photograph them at eye level to emphasize the parity between (human) viewer and subject.

In this series of portraits, I’ve expanded the frame to include animals with their rescuers. My goals are to highlight the deep bond between chickens and their people, pay tribute both to the birds who have suffered so much and the people who have invested so much time, money, love and tears in rescuing and caring for the birds, and encourage viewers to see chickens as sensitive beings worthy of our respect and protection.

50% of the profits from sales of work in this series will be donated to The Microsanctuary Movement’s Hen Reproductive Health Care Fund (www.microsanctuarymovement.org) to help caregivers cover the cost of contraception and other reproductive health care services provided by veterinarians.

 

Service Spotlight: Inkjet

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Courtesy Rita Leistner / Stephen Bulger Gallery

I have been making colour prints now my whole career, in my past jobs before I opened my own shop, I worked  in many capacities as a colour corrector, colour printer and photo comp specialist. One of my past specialty’s was making mural prints from 8×10 colour film. Thirty years later, we are seeing the same quality from the new Phase Back systems.
For me making colour prints is magical and even though we have state of art white balance capabilities, thanks to technology advances, the fine print always need collaboration with the artist and printer. Subtle colour balances, or contrast changes are required to produce work that is outstanding.
For many of my clients I work very closely balancing a body of work so that it can hang cohesively together, this is not a simple task. As well striking the right balance requires testing and then final print.
Today I use a Canon 12 ink printer and my maximum size (to date) is the image above which is 60 x 77 inches. I like inkjet for the different papers that we can use, as well with good profiling the consistency assured print to print. Inkjet prints can be hung within box frames, can be mounted to dibond mounts for displays, using spacers within frames or aluminum mounting systems to hang on walls.

Sharing / Le Partage Bernard Marenger

January 18-31 2018 Opening January 19 from 6-9pm

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Bernard Marenger est photographe professionnel depuis plus de 45 ans. Il a fait ses débuts dans l’un des plus prestigieux studio de photographie publicitaire à Montréal pour ensuite ouvrir son propre studio au centre-ville. Il a collaboré à plusieurs des meilleures campagnes publicitaires au Québec et au Canada pour des clients aussi prestigieux que Postes Canada, Imperial Tobacco, Labatt, Rona, SAQ etc.

Cette expérience a conduit Bernard Marenger à une démarche artistique très personnelle; à une vision plus sensible de la société et aussi, de la nature et des êtres qui la façonnent.

Doué d’une grande réceptivité à notre environnement, Bernard Marenger a su en capter vivement toute l’intensité.

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2017 in Review

2017 saw us renaming the main gallery, changing from the Dylan Ellis Gallery to the Connections Gallery. This name change reflects our mandate to “connect” artists, curators and gallerists.

Thank you to all of the photographers who showed such an amazing variety of images.

 

Human memory / The soul of the earth

January 12 to January 31

Sylvie Pinsonneault, Karl Desmarais


Toronto Offsite Design Festival

January 16-January 22

SUMO Projects and artist Michele Guevara


Visual Calculus in Photography

March 3-31

Alain Laforest, Catherine Aboumrad, Daniel Miller, Guy Glorieux, Guy Lafontaine

Jean Lauzon, Marie-Reine Mattera and Emmanuel Joly, Robert Slatkoff


A Foundation of Ash

April 17-May 13

Will Gill


Alternative Photo Revolution

Glen Echo, Maryland March 28, New Orleans March 31/April 1 Toronto, Contact Photography Festival May 15-June 17

Alexis Jackson, Kin Lon Ma, Scott Davis, David Armentor, Marc Betsworth, Tamiko Winters, Paul Taborovsky, Kevin Kelly, Alan Dunlop, Lisa Murzin, Ron Erwin,  John Migicovsky, Evan Dion, Salina Kassam, Philip Jessup, Marlene Hilton Moore, Juli Lyons, Skip Dean, Thomas Brasch, Matthew Plexman, Laura Paterson, Bob Carnie, Monica Glitz, Jeff Suchak, Hugues Rochette, Jean Lauzon, Madeleine Marcil, Claude Dagenais, Guy Lafontaine, Mirabelle Ricard, Guy Glorieux, Brittany Fleming, Jennifer Crane, Brendan Meadows, Andrej Gregov, Larry Hayden, Bryan Helm, Ginette Clément, Stephen McNeill , David Christensen


Linked

July 8-August 31

Laura Paterson, Wayne Salmon, Al Paterson, Anthony Macri, Kamelia Pezeshki, Aurélien Muller, Carissa Ainslie, Beth Jessup, Paulette Michayluk, Bob Carnie


Urban

October 1-30

Stephanie Kretzschmer, Guy Lafontaine, Robert McIntyre, Joachim Oepkes, David Edwards and Alan Dunlop


Kindred

Montreal October 20 & 21, Toronto November 1-29

Linda Kooluris Dobbs, Salina Kassam

John Migicovsky, Juli Lyons, Lisa Murzin, Thomas Brasch, Bob Carnie, Shelagh Howard, Marlene Hilton Moore, Philip Jessup, David L Hunsberger, ​Anthony DeLorenzo, Normand Blouin, Suzanne Vo-Ho, Jean-Sébastien Vaillancourt, Nathalie Garceau, Daniel Miller, Alexia Righetti, Pierre Dalpé, Guy Glorieux, Céline Lalonde, Martine Michaud, Janick Houle, Francois Spenard​


Emergence

December 1-January 8

Lindsi Hollend, Anna Borcherdt, Adrian Oosterman, Cat Stambolic, Andrew Persaud, Marlene Hilton Moore, Raquel Moliterno

Emergence Spotlight | Marlene Hilton Moore

December 1-January 8 2018 | Opening December 7 2017 6-9pm

Emergence showcases the work of a group of photographers who are presenting new and exciting work. This is the second iteration of this exhibition in which four artists will be chosen to exhibit in Montreal in 2018.

Lindsi Hollend |Anna Borcherdt |Adrian Oosterman |Cat StambolicAndrew Persaud

Marlene Hilton Moore | Raquel Moliterno

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What is your process
I create my photographs of women from the perspective of concept. The woman, her place and the combination of the two can spark my ideas. I do not concentrate on photographic technique but let the concept and the situation develop the technique. It may be there is a special source of light or simply bright daylight. It may be a choice between a focus on the woman from a distance immersed in her place or a focus on her portrait. In my series Pixie’s World, the place of Pixie’s bachelor apartment was a given, but it was the accident of the single-source light that created mysterious shadows and brilliant highlights. Combined with the light were the idiosyncratic personality of Pixie and the collision of her art and body within the space.
The series Cathedral focused explicitly on the concept of an elderly urban woman in a silver gown returned to her rural roots and photographed in her family barn. The woman’s white hair, the molten silver gown and the light that filtered through the spaces between the boards of the barn once again created a unique environment of light and luminescence, which greatly shaped the photographs.
The two series Ancestral and Botticelli Runner were shot in bright daylight. In Ancestral the central technique was the conceptual combination of the woman in the Baie de Chaleur moonscape rocks that dwarfed her, counterpointed with her posed against the ancestral homestead in intimate portrait relationship.
The young woman who is a Botticelli vision with her complexion and red hair is a long
distance runner. I was intrigued by the contrast of the delicacy of my Botticelli vision
against the hard reality of her long distance running discipline. Softness and hardness –
rigidity of track and flow of beach sand as running places – softness of flowing red hair and pink velvet gown against the rigidity of developed muscle. These elements became the focus of the photographs.

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Emergence Spotlight | Adrian Oosterman

December 1-January 8 2018 | Opening December 7 2017 6-9pm

Emergence showcases the work of a group of photographers who are presenting new and exciting work. This is the second iteration of this exhibition in which four artists will be chosen to exhibit in Montreal in 2018.

Lindsi Hollend |Anna Borcherdt |Adrian Oosterman |Cat StambolicAndrew Persaud

Marlene Hilton MooreRaquel Moliterno

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What is your process?

My past as a commercial photographer is sometimes an asset and sometimes a hindrance. An assignment creates focus. Lack of one invites creativity. Now I shoot without restriction and that lack of framework is a double-edged sword. Of course, there are also times when I’m pursuing a specific subject matter, like water, which is an ongoing visual passion of mine. I often go out to shoot with few expectations or assumptions. I walk around evaluating what’s there: the landscape, the light, the shapes — I’m especially drawn to graphic shapes. Later, I evaluate the images and identify those that share a narrative. Those narratives create collections.

As with the images from the collection “There are Spirits in These Woods,” I sometimes further manipulate the original shots to reveal the emotional component that was with me when I took them. Adding reflections is often my way to bring focus to unique aspects in the images.

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