After a long illness and extensive rehabilitation, The Drey was founded by artist Drew Simpson in 2019. The first gallery was a small ground floor space in an historic 200 year old mill tucked away in Canada’s last registered hamlet, Glen Williams. From the outset, the Gallery was committed to reimagining the traditional art business model while celebrating and exhibiting the work of under-represented, often marginalized mid-career artists.
Flipping the traditional power dynamics between the gallerist and artist has made The Drey one of the leading voices championing for change in the art world.
By standing alongside the artists, rather than merely representing them, The Drey in partnership with its roster opened its second location in Berlin, Germany in 2020.
This unique relationship between The Drey and its member artists has created an accessible support system that now spans two continents and has led to collaborations in print, fashion, video and community programming.
In 2021, The Drey moved to Toronto, settling in the ungentrified borough of East York. Carrying forward an underlying ethos of metamorphosis, The Drey challenged the exclusivity of the institution itself and created an accessible wing inside the Gallery that serves as a fine art variety store, bringing a more inclusive retail experience to the public.
Moving into 2024, The Drey will continue its symbiotic partnership with its artists, furthering creative exploration and innovation in the areas of art fairs, residency programs, media and podcasting.
The Drey Berlin: Pistorusstrasse 100, 103086. Berlin DE ( closed )
The Drey Toronto: 1229A, Woodbine Ave, M4C 4E1, Toronto CA ( open Wed - Sat, 12pm - 5pm )
Contact: drew@thedreygallery.com
Drey Toronto
Drey Toronto
Drey Berlin
Drey Berlin
JUL 5TH - AUG 3RD
JUL 5TH - AUG 3RD
GESTURES OF LOVE / HUNTERS & COLLECTORS
GESTURES OF LOVE / HUNTERS & COLLECTORS
Evan Jones & Patrick DeCoste
Evan Jones & Patrick DeCoste
July 5th to August 3rd 2024
July 5th to August 3rd 2024
Opening reception Saturday July 6th, 3pm to 9pm
Opening reception Saturday July 6th, 3pm to 9pm
“Gestures of Love takes its inspiration from two main sources: Martin Johnson Heade's unfinished magnum opus The Gems of Brazil, and George W. Bush's work as a portraitist. While on the surface these two artists couldn't be more disparate, underlying commonalities between them abound. Both Heade and Bush were self-taught and both were/are marginal figures in American art history. Heade competed with the grandiose landscapes of Frederic Church and Albert Bierstadt. Bush competes with his historical legacy and identity as President. But above all, both Heade's and Bush's work represents a love and dedication to the craft of painting, that is, to the gesture. This idea serves as the impetus for Gestures of Love. Heade's passion led him to the rainforests of Brazil where he aspired to document its hummingbirds in their natural habitats. A resulting work which would have surely been of equal grandeur to Audubon's Birds of America, or John Gould's A Monograph of the Trochilidae. He made some twenty canvases for the series, which were supposed to then be published in an album of chromolithographs, but he was never able to complete his project. The paintings which resulted however are among the most beautiful and impressive in the canon of American art. On the other hand, i f George Bush wasn't the former President of the United States, he might be considered a typical retiree hobbyist painter. Someone who has taken up painting as an outlet, rather than someone for which painting is a vocation. But his body of work is an honest, endearing, colloquial, and undeniably charming collection of portraits that belies the image of t h e man a s president. The fourteen paintings in Gestures of Love combine inspirational elements from both bodies of work. The format is inspired by the format of Gems of Brazil, where each painting is 12.5x10 inches (each painting in Gestures is 10x8 inches). The choice of subject, all pulled from the American visual lexicon, is inspired by Bush's subjects which are typically tied in some way to his tenure as President or the resulting legacy. Gestures takes inspiration from these two bodies of work, but just as with Heade's Gems o r Bush's portraits, the ideas are only as a starting point. It is ultimately in the gesture itself where meaning and significance is derived.” -Evan Jones
“Gestures of Love takes its inspiration from two main sources: Martin Johnson Heade's unfinished magnum opus The Gems of Brazil, and George W. Bush's work as a portraitist. While on the surface these two artists couldn't be more disparate, underlying commonalities between them abound. Both Heade and Bush were self-taught and both were/are marginal figures in American art history. Heade competed with the grandiose landscapes of Frederic Church and Albert Bierstadt. Bush competes with his historical legacy and identity as President. But above all, both Heade's and Bush's work represents a love and dedication to the craft of painting, that is, to the gesture. This idea serves as the impetus for Gestures of Love. Heade's passion led him to the rainforests of Brazil where he aspired to document its hummingbirds in their natural habitats. A resulting work which would have surely been of equal grandeur to Audubon's Birds of America, or John Gould's A Monograph of the Trochilidae. He made some twenty canvases for the series, which were supposed to then be published in an album of chromolithographs, but he was never able to complete his project. The paintings which resulted however are among the most beautiful and impressive in the canon of American art. On the other hand, i f George Bush wasn't the former President of the United States, he might be considered a typical retiree hobbyist painter. Someone who has taken up painting as an outlet, rather than someone for which painting is a vocation. But his body of work is an honest, endearing, colloquial, and undeniably charming collection of portraits that belies the image of t h e man a s president. The fourteen paintings in Gestures of Love combine inspirational elements from both bodies of work. The format is inspired by the format of Gems of Brazil, where each painting is 12.5x10 inches (each painting in Gestures is 10x8 inches). The choice of subject, all pulled from the American visual lexicon, is inspired by Bush's subjects which are typically tied in some way to his tenure as President or the resulting legacy. Gestures takes inspiration from these two bodies of work, but just as with Heade's Gems o r Bush's portraits, the ideas are only as a starting point. It is ultimately in the gesture itself where meaning and significance is derived.” -Evan Jones
“I am inspired by my Nova Scotia Métis roots and informed by the history of first contacts between First Nations and Europeans. Through figurative painting, I create historical imaginary works coloured by this period of colonial conquest in eastern Canada. Champlain, the French explorer, and Kluskap, the Mi’kmaq folk hero are two of the many characters who inhabit the landscapes of my paintings. I use self-portraiture as a means to flesh out these characters and to insert my presence into these narratives.” -Patrick DeCoste
“I am inspired by my Nova Scotia Métis roots and informed by the history of first contacts between First Nations and Europeans. Through figurative painting, I create historical imaginary works coloured by this period of colonial conquest in eastern Canada. Champlain, the French explorer, and Kluskap, the Mi’kmaq folk hero are two of the many characters who inhabit the landscapes of my paintings. I use self-portraiture as a means to flesh out these characters and to insert my presence into these narratives.” -Patrick DeCoste
Image: ‘Hulk Hogan’ acrylic on canvas, 10 x 8 inches. Evan Jones
Image: ‘Hulk Hogan’ acrylic on canvas, 10 x 8 inches. Evan Jones
JUN 5TH - JUN 29TH
JUN 5TH - JUN 29TH
I Was Here But I Disappear / Post Apocalyptic Rococo
I Was Here But I Disappear / Post Apocalyptic Rococo
Romas Astrauskas & Peter B Hastings
Romas Astrauskas & Peter B Hastings
Jun 5th to Jun 29th 2024
Jun 5th to Jun 29th 2024
Romas Astrauskas, an MFA graduate of Parsons School of Design in New York, is a Toronto based artist and writer. He has exhibited extensively throughout the city participating in numerous group and solo shows within the commercial gallery circuit and has also had work displayed in several museum surveys including appearances at the Power-Plant (Toronto), The Plug-In Institute (Winnipeg) and the Art and Culture Centre of Hollywood. Examples of work from his eclectic and varied output can be found in numerous private and corporate collections.
Romas Astrauskas, an MFA graduate of Parsons School of Design in New York, is a Toronto based artist and writer. He has exhibited extensively throughout the city participating in numerous group and solo shows within the commercial gallery circuit and has also had work displayed in several museum surveys including appearances at the Power-Plant (Toronto), The Plug-In Institute (Winnipeg) and the Art and Culture Centre of Hollywood. Examples of work from his eclectic and varied output can be found in numerous private and corporate collections.
Hastings is a Toronto based artist who divides his practices equally between painting and making sculpture. Each reflects his interests in historical and modern complex systems both materially and sociological. Referring to his creative endeavors as “excavating my own consumption”, informed and made from the incoming physical clutter of modern consumption or gleaning the urban flotsam of everyday life. Feeling a moral imperative, at bare minimum to consolidate these cheap human made substrates within a creative context. Continuing the metaphor of “substrates” Peter refers to his painting practices as resembling archeological digs. Working exclusively on masonite, another substrate, his surfaces require physical histories. Layers of thick paint that can be cut and dug into, physically adding and subtracting to create psychological layers to the work Peter B Hastings is a graduate of OCAD University (Toronto). His work can be found in numerous private collections in North America and Europe.
Hastings is a Toronto based artist who divides his practices equally between painting and making sculpture. Each reflects his interests in historical and modern complex systems both materially and sociological. Referring to his creative endeavors as “excavating my own consumption”, informed and made from the incoming physical clutter of modern consumption or gleaning the urban flotsam of everyday life. Feeling a moral imperative, at bare minimum to consolidate these cheap human made substrates within a creative context. Continuing the metaphor of “substrates” Peter refers to his painting practices as resembling archeological digs. Working exclusively on masonite, another substrate, his surfaces require physical histories. Layers of thick paint that can be cut and dug into, physically adding and subtracting to create psychological layers to the work Peter B Hastings is a graduate of OCAD University (Toronto). His work can be found in numerous private collections in North America and Europe.
Image: I Was Here But I Disappear, house paint on cardboard, 9” x 12” Romas Astrauskas.
Image: I Was Here But I Disappear, house paint on cardboard, 9” x 12” Romas Astrauskas.
MAY 25TH
MAY 25TH
APOPHENIA ZEPHYR 3
APOPHENIA ZEPHYR 3
James Austin Hewitt, John Kissick, Margaret Glew, Peter B Hastings, Marc DeLong, Liss Platt & Clear Eyes Collective.
James Austin Hewitt, John Kissick, Margaret Glew, Peter B Hastings, Marc DeLong, Liss Platt & Clear Eyes Collective.
Sat May 25th, 6pm to 10pm
Sat May 25th, 6pm to 10pm
24 Mercer Street, Toronto ON
24 Mercer Street, Toronto ON
Our third satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District
Our third satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District
MAY11TH - JUN 1ST
MAY11TH - JUN 1ST
RANCID TUNA / BOSSY REAR
RANCID TUNA / BOSSY REAR
Hannah Epstein & Mark DeLong
Hannah Epstein & Mark DeLong
May 11 - Jun1 2024
May 11 - Jun1 2024
Opening reception Sat May 11th, 3pm to 9pm
Opening reception Sat May 11th, 3pm to 9pm
Hannah Epstein (AKA Hanski) is a Canadian pulp artist. Working with a wide array of media, she collects and reforms populist narratives related to the banal and personal moving through the techno-empire of the 21st century.
Hannah Epstein (AKA Hanski) is a Canadian pulp artist. Working with a wide array of media, she collects and reforms populist narratives related to the banal and personal moving through the techno-empire of the 21st century.
Hanski’s work has been exhibited in prestigious institutions such as The Hammer Museum, Arsenal Contemporary and The Art Gallery of Ontario and is in the collections of notable figures such as Jorge Perez, Beth Rudin DeWoody and Demi Lovato.
Hanski’s work has been exhibited in prestigious institutions such as The Hammer Museum, Arsenal Contemporary and The Art Gallery of Ontario and is in the collections of notable figures such as Jorge Perez, Beth Rudin DeWoody and Demi Lovato.
Mark DeLong is a self-taught artist working in a range of media including sculpture, drawing, painting, and sequential art. His work has been displayed at Colette, Paris, France; Abel Neue Kunst Gallery, Berlin, Germany; Perugi Art Contemporenea, Padova, Italy; Museum of Contemporary Canadian Art, COOPER COLE, Toronto, Monte Clark, Vancouver, Canada; ACME, Los Angeles; Spencer-Brownstone Gallery, Ed. Varie, Little Cakes, New York; Halsey McKay, East Hampton, USA. DeLong currently lives and works in Vancouver, Canada
Mark DeLong is a self-taught artist working in a range of media including sculpture, drawing, painting, and sequential art. His work has been displayed at Colette, Paris, France; Abel Neue Kunst Gallery, Berlin, Germany; Perugi Art Contemporenea, Padova, Italy; Museum of Contemporary Canadian Art, COOPER COLE, Toronto, Monte Clark, Vancouver, Canada; ACME, Los Angeles; Spencer-Brownstone Gallery, Ed. Varie, Little Cakes, New York; Halsey McKay, East Hampton, USA. DeLong currently lives and works in Vancouver, Canada
Image: Milk Puddle, Wool, Acrylic, Burlap, Cotton, 31” X 29”, 2024, Hannah Epstein
Image: Milk Puddle, Wool, Acrylic, Burlap, Cotton, 31” X 29”, 2024, Hannah Epstein
APR 13TH
APR 13TH
APOPHENIA ZEPHYR 2
APOPHENIA ZEPHYR 2
Matt Crookshank, Leif Low-Beer, Tasman Richardson, Smearballs, Michael Stecky, Shannyn Reid & Rod Grigor
Matt Crookshank, Leif Low-Beer, Tasman Richardson, Smearballs, Michael Stecky, Shannyn Reid & Rod Grigor
Sat Apr 13th, 5pm to 10pm
Sat Apr 13th, 5pm to 10pm
24 Mercer Street, Toronto ON
24 Mercer Street, Toronto ON
Our second satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District.
Our second satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District.
MAR 20TH - APR 20TH
MAR 20TH - APR 20TH
My Most Grievous Fault / Posts and Stories
My Most Grievous Fault / Posts and Stories
John Nobrega & Pete Smith
John Nobrega & Pete Smith
Mar 20 - Apr 20, 2024
Mar 20 - Apr 20, 2024
My Most Grievous Fault: Show Text
My Most Grievous Fault: Show Text
I confess to almighty God,
and to you, my brothers and sisters,
that I have greatly sinned
through my thoughts and in my words, in what I have done, and
in what I have failed to do;
through my fault, through my fault, through my most grievous
fault....
-The Penitential Act
With “My most grievous fault” John Nobrega continues the
portrait cycle he began in his first show at the Drey “My will is
good” mining the imagery of Nunsploitation films to represent
the sacred and profane. Often in these films, there is a diabolical
male figure, sometimes a surrogate for Lucifer himself, who acts
as a corrupting influence. Nobrega has given this latest cycle of
nun portraits sinister male counterparts. These portraits are less
individuated than the nuns. They embody the themes that were
mostly implied in Nobrega’s previous work: the power of religious
ritual, the erotic lure of evil, the linked duality of sex and death.
I confess to almighty God,
and to you, my brothers and sisters,
that I have greatly sinned
through my thoughts and in my words, in what I have done, and
in what I have failed to do;
through my fault, through my fault, through my most grievous
fault....
-The Penitential Act
With “My most grievous fault” John Nobrega continues the
portrait cycle he began in his first show at the Drey “My will is
good” mining the imagery of Nunsploitation films to represent
the sacred and profane. Often in these films, there is a diabolical
male figure, sometimes a surrogate for Lucifer himself, who acts
as a corrupting influence. Nobrega has given this latest cycle of
nun portraits sinister male counterparts. These portraits are less
individuated than the nuns. They embody the themes that were
mostly implied in Nobrega’s previous work: the power of religious
ritual, the erotic lure of evil, the linked duality of sex and death.
Posts and Stories: Show Text
Posts and Stories: Show Text
These are paintings of posts and stories that I’ve shared on social media, a “place” that complicates our individual notions of public and private, divided up between “friends” and followers.
These are paintings of posts and stories that I’ve shared on social media, a “place” that complicates our individual notions of public and private, divided up between “friends” and followers.
As such these paintings express a certain intimacy with my lived experience as, like many others, I’ve become accustomed to sharing these experiences through online spaces. These paintings extend my oversharing to the gallery space - a real world place that, in this case, mimics the fake one.
As such these paintings express a certain intimacy with my lived experience as, like many others, I’ve become accustomed to sharing these experiences through online spaces. These paintings extend my oversharing to the gallery space - a real world place that, in this case, mimics the fake one.
Increasingly, a large part of our lives happens on our phones - where the 24 hour news cycle and a cascade of misinformation swirl together in a toxic cocktail. In this sense, the larger outside world is felt as a shared, exfoliating trauma where one catastrophe unfolds into the next - perpetual and relentless. “If you’re not outraged, you’re not paying attention.” But how we cope (or don’t) with this distress varies by individual, nature and aptitude as we employ different defense mechanisms with varying degrees of success.
Increasingly, a large part of our lives happens on our phones - where the 24 hour news cycle and a cascade of misinformation swirl together in a toxic cocktail. In this sense, the larger outside world is felt as a shared, exfoliating trauma where one catastrophe unfolds into the next - perpetual and relentless. “If you’re not outraged, you’re not paying attention.” But how we cope (or don’t) with this distress varies by individual, nature and aptitude as we employ different defense mechanisms with varying degrees of success.
As someone who’s mental health is an ongoing challenge (I’m bipolar), I’ve often had trouble compartmentalizing the trauma of the outside world. Intrinsically autobiographical, these works are about the need to compartmentalize and the dissonance that complicates it.
As someone who’s mental health is an ongoing challenge (I’m bipolar), I’ve often had trouble compartmentalizing the trauma of the outside world. Intrinsically autobiographical, these works are about the need to compartmentalize and the dissonance that complicates it.
They’re an attempt to visually articulate how it feels, for me, to be an observer and engaged participant in this our flawed moment.
They’re an attempt to visually articulate how it feels, for me, to be an observer and engaged participant in this our flawed moment.
Image: And earthly things will grow strangely dim’ oil on panel, 9” x 12” John Nobrega
Image: And earthly things will grow strangely dim’ oil on panel, 9” x 12” John Nobrega
MAR 9TH
MAR 9TH
APOPHENIA ZEPHYR
APOPHENIA ZEPHYR
Hannah Epstein, Eldon Garnet, Nicholas Di Genova, Mat Brown, Romas Astrauskas, Laurie Skantzos, Hannah Faas, Stephanie Cormier, Alisa McRonald, Karen Pilosof.
Hannah Epstein, Eldon Garnet, Nicholas Di Genova, Mat Brown, Romas Astrauskas, Laurie Skantzos, Hannah Faas, Stephanie Cormier, Alisa McRonald, Karen Pilosof.
Sat March 9th, 5pm to 10pm
Sat March 9th, 5pm to 10pm
24 Mercer Street, Toronto ON
24 Mercer Street, Toronto ON
Our first satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District. With special performances by artist Gillian Frise and Christine Pountney from The Link Collective, in collaboration with Plantseedflowers.
Our first satellite event in partnership with the creative team of nuZamuse is a monthly, 1 night only pop event in Toronto's Entertainment District. With special performances by artist Gillian Frise and Christine Pountney from The Link Collective, in collaboration with Plantseedflowers.
FEB 14TH - MAR 16TH
FEB 14TH - MAR 16TH
The Sons of Sky & Earth / Hey There
The Sons of Sky & Earth / Hey There
Ron Loranger and Alisa McRonald
Ron Loranger and Alisa McRonald
Toronto Feb 14th - March 16th
Toronto Feb 14th - March 16th
Ron Loranger is a Toronto based, Franco- Ontarian artist who's minimal creations are uniquely playful and boisterously expressive. Through the careful manipulation of watercolour pigments, the artist has been exploring the shapes he's nicknamed "blobettes" for more than 20 years of his artistic practice.
Ron Loranger is a Toronto based, Franco- Ontarian artist who's minimal creations are uniquely playful and boisterously expressive. Through the careful manipulation of watercolour pigments, the artist has been exploring the shapes he's nicknamed "blobettes" for more than 20 years of his artistic practice.
Throughout his career, Loranger has been committed and involved in artist run centres, sitting on the board and committees of B.R.A.V.O - SUD, Galerie du Nouvel - Ontario ( GN- O ) and Le Labo.
Throughout his career, Loranger has been committed and involved in artist run centres, sitting on the board and committees of B.R.A.V.O - SUD, Galerie du Nouvel - Ontario ( GN- O ) and Le Labo.
Loranger has exhibited extensively throughout Canada in private and public galleries along with various international exhibitions in NYC and Berlin.
Loranger has exhibited extensively throughout Canada in private and public galleries along with various international exhibitions in NYC and Berlin.
Alisa McRonald’s woven and hand-punched weirdos live in the fairytale paradise of a queerdo child of the 80s. Her work is a tactile fruit salad with a soupçon of the esoteric.
Alisa McRonald’s woven and hand-punched weirdos live in the fairytale paradise of a queerdo child of the 80s. Her work is a tactile fruit salad with a soupçon of the esoteric.
She has exhibited and performed nationally and internationally including at the Toronto Reference Library and the Interior Design Show Prototype Exhibition (2023), Craft Ontario (2022), the Drake Hotel in Toronto (2021) and Capacity 3 Gallery in Guelph (2019 and 2017).
She has exhibited and performed nationally and internationally including at the Toronto Reference Library and the Interior Design Show Prototype Exhibition (2023), Craft Ontario (2022), the Drake Hotel in Toronto (2021) and Capacity 3 Gallery in Guelph (2019 and 2017).
Her work has been featured in publications such as: Harper’s Bazaar Japan, Untitled Magazine and the Toronto Star. She was awarded the 2023 Best Product/Design Award from DesignTO, the 2020 Best of Craft and Design Award from the Toronto Outdoor Art Fair and her work has been featured on many curatorial lists. She is a Creative in Residence for the 2023 Ontario Culture Days.
Her work has been featured in publications such as: Harper’s Bazaar Japan, Untitled Magazine and the Toronto Star. She was awarded the 2023 Best Product/Design Award from DesignTO, the 2020 Best of Craft and Design Award from the Toronto Outdoor Art Fair and her work has been featured on many curatorial lists. She is a Creative in Residence for the 2023 Ontario Culture Days.
She is inspired by other handmade items such as quilts and afghans. For her, these items have a feeling of nostalgia and comfort to them. Alisa is passionate about using reclaimed textiles and has made a commitment to use as much as possible in her work (she's nearing 100%).
She is inspired by other handmade items such as quilts and afghans. For her, these items have a feeling of nostalgia and comfort to them. Alisa is passionate about using reclaimed textiles and has made a commitment to use as much as possible in her work (she's nearing 100%).
Alisa also acts as a creative mentor and facilitator.
Alisa also acts as a creative mentor and facilitator.
image: Cyclops, ink & watercolour on Arches, 10” x 14, Ron Loranger
image: Cyclops, ink & watercolour on Arches, 10” x 14, Ron Loranger
JAN 10TH - FEB 10TH
JAN 10TH - FEB 10TH
PHANTASMAL
PHANTASMAL
Sarah Sproule
Sarah Sproule
Jan 10 - Feb 10, 2024
Jan 10 - Feb 10, 2024
Opening Sat Jan13, 5pm-9pm
Opening Sat Jan13, 5pm-9pm
Sarah Sproule is an award-winning emerging artist based out of Hamilton, Ontario. Her work is a critical examination of queerness, disability, and the body. Her work explores the myth of permanence and our collective fear of bodies changing in time through sculpture, installation, and textiles. Through materials like plaster, ceramics and metals, she attempts to capture the fluidity of movement in permanence while juxtaposing interventions of impermanence through fragile or decomposing materials. These conflicting materials represent both an ephemeral and monumental body and societal desires to remain the same despite the inevitability of change.
Sarah Sproule is an award-winning emerging artist based out of Hamilton, Ontario. Her work is a critical examination of queerness, disability, and the body. Her work explores the myth of permanence and our collective fear of bodies changing in time through sculpture, installation, and textiles. Through materials like plaster, ceramics and metals, she attempts to capture the fluidity of movement in permanence while juxtaposing interventions of impermanence through fragile or decomposing materials. These conflicting materials represent both an ephemeral and monumental body and societal desires to remain the same despite the inevitability of change.
Working primarily with found objects and the casting and mould-making process, she dismantles, breaks apart, reforms, and reimagines objects and furniture, rewriting their histories as she creates new visual stories. Often drawing on the ghost story's rich visual history and the aesthetics of horror, she is particularly interested in visualizing feelings of repression by disrupting the comfort of home and the uneasiness of not feeling safe in places of supposed sanctuary. By spotlighting the fear of queer, disabled, and fat bodies and desires to hide one’s physical and psychological differences in pursuit of perfection, her work offers an alternative to how we view our bodies. Just as ghost stories seek to terrorize and ultimately relieve viewers of their anxieties, her work aims to challenge and alleviate their fears by offering them the uneasy beauty of imperfect form.
Working primarily with found objects and the casting and mould-making process, she dismantles, breaks apart, reforms, and reimagines objects and furniture, rewriting their histories as she creates new visual stories. Often drawing on the ghost story's rich visual history and the aesthetics of horror, she is particularly interested in visualizing feelings of repression by disrupting the comfort of home and the uneasiness of not feeling safe in places of supposed sanctuary. By spotlighting the fear of queer, disabled, and fat bodies and desires to hide one’s physical and psychological differences in pursuit of perfection, her work offers an alternative to how we view our bodies. Just as ghost stories seek to terrorize and ultimately relieve viewers of their anxieties, her work aims to challenge and alleviate their fears by offering them the uneasy beauty of imperfect form.
Image: All of my clothes come in the mail (detail), Ceramic, foam, found object, latex paint, Sarah Sproule, 2023
Image: All of my clothes come in the mail (detail), Ceramic, foam, found object, latex paint, Sarah Sproule, 2023
DEC 21ST
DEC 21ST
HOLIDAY DREYRAISER
HOLIDAY DREYRAISER
Charles Jerry Haiti Art Students, Matt Crookshank, Romas Astrauskas, Margarett Glew, Casey McGlynn, Andrew Harwood, Schem Bader, John Nobrega, Ron Loranger, Pete Smith, Andy Fabo, Laurie Skantzos, Stephanie Cormier, Robert Farmer, Jack Bride
Charles Jerry Haiti Art Students, Matt Crookshank, Romas Astrauskas, Margarett Glew, Casey McGlynn, Andrew Harwood, Schem Bader, John Nobrega, Ron Loranger, Pete Smith, Andy Fabo, Laurie Skantzos, Stephanie Cormier, Robert Farmer, Jack Bride
Thursday Dec 21, 5pm-9pm
Thursday Dec 21, 5pm-9pm
Join us in commemorating a significant milestone—The Drey's 2nd anniversary in Toronto and our fourth year in operation—at our festive holiday fundraiser The Dreyraiser! This exclusive event will take place for one night only on Thursday, December 21st, from 5 pm to 9 pm. Revel in the festivities with complimentary beverages and explore a diverse array of holiday artworks from our featured Drey artists.
Founded by artist Drew Simpson in 2019 after a period of profound illness and extensive rehabilitation, The Drey started as a modest ground floor gallery in a historic 200-year-old mill nestled in Canada’s last registered hamlet, Glen Williams. From the very beginning, The Drey committed itself to redefining the traditional art business model and showcasing the work of under-represented, often marginalized mid-career artists.
The Drey has revolutionized the power dynamics between gallerists and artists, emerging as a prominent advocate for change in the art world. Choosing to stand beside the artists rather than merely represent them, The Drey, in collaboration with its roster, expanded to a second location in Berlin, Germany, in 2020. This unique partnership has established an accessible support system spanning two continents, resulting in collaborative ventures in print, fashion, video, and community programming.
In 2021, The Drey relocated to Toronto, finding a home in the ungentrified borough of East York. Upholding a fundamental ethos of metamorphosis, The Drey challenged the exclusivity of the art institution by creating an inclusive wing within the Gallery—a fine art variety store—to offer a more accessible retail experience to the public.
Looking ahead to 2024, The Drey is committed to fostering its symbiotic partnership with its artists, pushing the boundaries of creative exploration and innovation. Expect exciting developments in art fairs, residency programs, media, and podcasting as we continue to evolve and inspire in the ever-evolving art landscape.
Join us in commemorating a significant milestone—The Drey's 2nd anniversary in Toronto and our fourth year in operation—at our festive holiday fundraiser The Dreyraiser! This exclusive event will take place for one night only on Thursday, December 21st, from 5 pm to 9 pm. Revel in the festivities with complimentary beverages and explore a diverse array of holiday artworks from our featured Drey artists.
Founded by artist Drew Simpson in 2019 after a period of profound illness and extensive rehabilitation, The Drey started as a modest ground floor gallery in a historic 200-year-old mill nestled in Canada’s last registered hamlet, Glen Williams. From the very beginning, The Drey committed itself to redefining the traditional art business model and showcasing the work of under-represented, often marginalized mid-career artists.
The Drey has revolutionized the power dynamics between gallerists and artists, emerging as a prominent advocate for change in the art world. Choosing to stand beside the artists rather than merely represent them, The Drey, in collaboration with its roster, expanded to a second location in Berlin, Germany, in 2020. This unique partnership has established an accessible support system spanning two continents, resulting in collaborative ventures in print, fashion, video, and community programming.
In 2021, The Drey relocated to Toronto, finding a home in the ungentrified borough of East York. Upholding a fundamental ethos of metamorphosis, The Drey challenged the exclusivity of the art institution by creating an inclusive wing within the Gallery—a fine art variety store—to offer a more accessible retail experience to the public.
Looking ahead to 2024, The Drey is committed to fostering its symbiotic partnership with its artists, pushing the boundaries of creative exploration and innovation. Expect exciting developments in art fairs, residency programs, media, and podcasting as we continue to evolve and inspire in the ever-evolving art landscape.
-Image: Untitled by Kazak, acrylic and ink on panel, 12” x 18”
-Image: Untitled by Kazak, acrylic and ink on panel, 12” x 18”
NOV 15TH - DEC 23RD
NOV 15TH - DEC 23RD
UNFOLDING / IDOLATRY
UNFOLDING / IDOLATRY
Stephanie Cormier / Cameron E Wylie
Stephanie Cormier / Cameron E Wylie
Toronto Nov15 - Dec23 2023
Toronto Nov15 - Dec23 2023
Stephanie Cormier: Unfolding - Artists Statement
Stephanie Cormier: Unfolding - Artists Statement
My practice combines art and the labour of craft. I look at day-to-day items in the world such as clothing, domestic decor, and cardboard packaging to deconstruct and examine the making of things. I am interested in isolating flat shapes and forms from familiar objects and reimagining them in artworks. My research centres around the intersection and play between the flat and the dimensional, and finding resourcefulness, but also wonder, in everyday materials and actions. I aim to question perception but also hierarchical worth and capitalist value systems, leaning towards curiosity, reuse, and a wilding of overly refined experience.
My practice combines art and the labour of craft. I look at day-to-day items in the world such as clothing, domestic decor, and cardboard packaging to deconstruct and examine the making of things. I am interested in isolating flat shapes and forms from familiar objects and reimagining them in artworks. My research centres around the intersection and play between the flat and the dimensional, and finding resourcefulness, but also wonder, in everyday materials and actions. I aim to question perception but also hierarchical worth and capitalist value systems, leaning towards curiosity, reuse, and a wilding of overly refined experience.
I have been creating with things at hand, in the home. Old fabrics and sheets become my material. I am interested in understanding the forms around us - how flat shapes can be transformed (joined, folded, positioned) to fill space and become three dimensional, as well as the undoing of this - how objects can be dismantled and represented flatly in the traditional pictorial plane of painting or photography. Laying objects (from the simple cardboard box to the tailored shirt) out in their component pieces and examining the construction of things, allows me to understand the materials around me. I look at these like a dressmaker with their pattern. The flat surface that begets the three-dimensional form.
I have been creating with things at hand, in the home. Old fabrics and sheets become my material. I am interested in understanding the forms around us - how flat shapes can be transformed (joined, folded, positioned) to fill space and become three dimensional, as well as the undoing of this - how objects can be dismantled and represented flatly in the traditional pictorial plane of painting or photography. Laying objects (from the simple cardboard box to the tailored shirt) out in their component pieces and examining the construction of things, allows me to understand the materials around me. I look at these like a dressmaker with their pattern. The flat surface that begets the three-dimensional form.
The quilt-like pieces I make have a graphic, stylized design. They appear abstract, interlocking negative and positive space into one continuous surface. Working with textiles has led me to re-examine how I see and observe the world. By cutting and sewing pieces to make the whole I have questioned the concept of “negative” space. If I am taking reference from representational images - working with shapes and their edges, defining a boundary that will attach to another boundary - everything is connected and important. The fabric to represent what is conceived as positive and what is negative space, are the same. Each piece is needed to keep the whole together.
The quilt-like pieces I make have a graphic, stylized design. They appear abstract, interlocking negative and positive space into one continuous surface. Working with textiles has led me to re-examine how I see and observe the world. By cutting and sewing pieces to make the whole I have questioned the concept of “negative” space. If I am taking reference from representational images - working with shapes and their edges, defining a boundary that will attach to another boundary - everything is connected and important. The fabric to represent what is conceived as positive and what is negative space, are the same. Each piece is needed to keep the whole together.
Unfolding reflects the exploration into this theme of connectivity, succession, and “endlessness”. Seemingly infinite reproduction or representation, that was brought about through making and thinking in the medium of quilt making.
Unfolding reflects the exploration into this theme of connectivity, succession, and “endlessness”. Seemingly infinite reproduction or representation, that was brought about through making and thinking in the medium of quilt making.
Cameron E Wylie: Idolatry - Artists Bio
Cameron E Wylie: Idolatry - Artists Bio
Drawing on his fascination with myth and art history Wylie works in an expressive collage-like process to depict the individual’s micro experience within the macro of the consumption and commodification of material culture. His work has been shown in numerous group shows in Toronto and Hamilton. A graduate of OCAD University he lives and works in Toronto.
Drawing on his fascination with myth and art history Wylie works in an expressive collage-like process to depict the individual’s micro experience within the macro of the consumption and commodification of material culture. His work has been shown in numerous group shows in Toronto and Hamilton. A graduate of OCAD University he lives and works in Toronto.
Image Detail:
Image Detail:
The Incredulity of St. Thomas on Terrazzo Countertop. 2022. Acrylic on found textile. 40”×30” - Cameron E Wylie
The Incredulity of St. Thomas on Terrazzo Countertop. 2022. Acrylic on found textile. 40”×30” - Cameron E Wylie
OCT 26TH - OCT 29TH
OCT 26TH - OCT 29TH
ART TORONTO
ART TORONTO
Michael Stecky, Gillian Frise, Matt Crookshank, John Kissick, Laurie Skantzos, Peter B Hastings, Drew Simpson
Michael Stecky, Gillian Frise, Matt Crookshank, John Kissick, Laurie Skantzos, Peter B Hastings, Drew Simpson
Oct26 - Oct29 2023
Oct26 - Oct29 2023
Art Toronto is Canada's oldest and largest international art fair that hosts over 100 national and international galleries, installations, and project spaces.
Art Toronto is Canada's oldest and largest international art fair that hosts over 100 national and international galleries, installations, and project spaces.
OCT 11TH - NOV 11TH
OCT 11TH - NOV 11TH
THE FRONTIER INDEX
THE FRONTIER INDEX
Brian Burnett, Jubal Brown, Pete Smith, Schem Bader,
Brian Burnett, Jubal Brown, Pete Smith, Schem Bader,
Jack Bride, Jenn E Norton, Romas Astrauskas, Ron Loranger, Rob Farmer & Charles Hackbarth
Jack Bride, Jenn E Norton, Romas Astrauskas, Ron Loranger, Rob Farmer & Charles Hackbarth
Toronto Oct11 - Nov11
Toronto Oct11 - Nov11
New Perspectives in Landscape
New Perspectives in Landscape
Of all the people I knew
I always looked up to you
and after millions of years of crime
the sun still shines and shines
Of all the people I knew
I always looked up to you
and after millions of years of crime
the sun still shines and shines
Look a horse (named Divorce) gallops thru the desert light
I make such good time through sub-space
when I dream all day and ride all night
Look a horse (named Divorce) gallops thru the desert light
I make such good time through sub-space
when I dream all day and ride all night
A robot walks into a bar
orders a drink
lays down a bill
The bartender says, hey we don't serve robots
and the robot says, oh but someday you will
A robot walks into a bar
orders a drink
lays down a bill
The bartender says, hey we don't serve robots
and the robot says, oh but someday you will
Prisons a good time for some
many people get caught with a gun
This trucker says it's good to be free
says he knows lots of folks who agree
Prisons a good time for some
many people get caught with a gun
This trucker says it's good to be free
says he knows lots of folks who agree
Bumperstickers talk to him
say "let the stars get in your eyes"
Time, cum, sand, and surf
these are the building blocks of life
Bumperstickers talk to him
say "let the stars get in your eyes"
Time, cum, sand, and surf
these are the building blocks of life
Boy wants a car from his Dad
Dad says, first you gotta cut that hair
Boy says, hey Dad Jesus had long hair
and Dad says
that's right son but Jesus walked everywhere
Boy wants a car from his Dad
Dad says, first you gotta cut that hair
Boy says, hey Dad Jesus had long hair
and Dad says
that's right son but Jesus walked everywhere
When I was younger I was a cobra
in every case I wanted to be cool
Now that I'm older and sub-space is colder
I just want to say something true
When I was younger I was a cobra
in every case I wanted to be cool
Now that I'm older and sub-space is colder
I just want to say something true
David Berman
David Berman
Image: Troubled, oil on canvas, 11"x14", Pete Smith
Image: Troubled, oil on canvas, 11"x14", Pete Smith
SEPT 13TH - SEPT 30TH
SEPT 13TH - SEPT 30TH
I SWALLOWED A FLY / heads
I SWALLOWED A FLY / heads
Matt Crookshank / Britt Randle
Matt Crookshank / Britt Randle
Toronto Sept13 - Sept30 2023
Toronto Sept13 - Sept30 2023
Matt Crookshank - I Swallowed A Fly: Show Text
Matt Crookshank - I Swallowed A Fly: Show Text
"I Swallowed A Fly" takes its name from the classic folk poem, "There was an Old Lady who Swallowed a Fly," a tale that echoes with the curious and the absurd, much like the human experience itself. In this collection of new paintings, Matt Crookshank embarks on a visual journey that transcends the whimsical surface of the rhyme to delve into the profound and interconnected aspects of human existence.
"I Swallowed A Fly" takes its name from the classic folk poem, "There was an Old Lady who Swallowed a Fly," a tale that echoes with the curious and the absurd, much like the human experience itself. In this collection of new paintings, Matt Crookshank embarks on a visual journey that transcends the whimsical surface of the rhyme to delve into the profound and interconnected aspects of human existence.
In these artworks, viewers are invited to contemplate the paradox of life—how we are both swallowed up by the vast currents of existence and yet, in turn, swallow life itself with each choice we make. Just as the butterfly's delicate wings in one corner of the world can set off a hurricane in another, each brushstroke in these paintings represents an infinitesimal decision, a minuscule choice, and the potential for far-reaching consequences. The butterfly effect, a concept from chaos theory, reminds us that the smallest actions can cascade into monumental events, forever altering the course of our lives.
In these artworks, viewers are invited to contemplate the paradox of life—how we are both swallowed up by the vast currents of existence and yet, in turn, swallow life itself with each choice we make. Just as the butterfly's delicate wings in one corner of the world can set off a hurricane in another, each brushstroke in these paintings represents an infinitesimal decision, a minuscule choice, and the potential for far-reaching consequences. The butterfly effect, a concept from chaos theory, reminds us that the smallest actions can cascade into monumental events, forever altering the course of our lives.
As we navigate the currents of life, making choices and facing consequences, we are challenged to reflect on the boundaries of our agency. Are we truly masters of our destiny, or are we mere passengers, being carried along by the inexorable flow of time and circumstance? Each painting becomes a portal into this profound contemplation of our capacity to shape our lives while being shaped by them in return.
As we navigate the currents of life, making choices and facing consequences, we are challenged to reflect on the boundaries of our agency. Are we truly masters of our destiny, or are we mere passengers, being carried along by the inexorable flow of time and circumstance? Each painting becomes a portal into this profound contemplation of our capacity to shape our lives while being shaped by them in return.
Through a vivid tapestry of colours, forms, and emotions, "I Swallowed A Fly" captures the essence of the butterfly effect, where the mundane and the extraordinary intersect. Each painting invites viewers to explore the intricate web of causality that shapes our lives, from the most trivial to the most profound moments. In this exhibition, the fly swallowed is not merely a creature in a nursery rhyme but a symbol of the complexities, absurdities, and interconnectedness that define our human experience.
Through a vivid tapestry of colours, forms, and emotions, "I Swallowed A Fly" captures the essence of the butterfly effect, where the mundane and the extraordinary intersect. Each painting invites viewers to explore the intricate web of causality that shapes our lives, from the most trivial to the most profound moments. In this exhibition, the fly swallowed is not merely a creature in a nursery rhyme but a symbol of the complexities, absurdities, and interconnectedness that define our human experience.
Join us at the Drey Gallery for the opening of "I Swallowed A Fly" on September 16th, from 1 pm to 8 pm, as we embark on a visual odyssey that challenges us to reflect on the profound consequences of the smallest actions and the intricate interplay between free will and fate.
Join us at the Drey Gallery for the opening of "I Swallowed A Fly" on September 16th, from 1 pm to 8 pm, as we embark on a visual odyssey that challenges us to reflect on the profound consequences of the smallest actions and the intricate interplay between free will and fate.
Britt Randle - heads: Show Text
Britt Randle - heads: Show Text
Britt Randle is a multidisciplinary queer artist whose creative passions encompass drawing and experimental filmmaking.
Their artistic journey began with a transformative childhood experience. A family friend, who owned a paper mill, delivered an overwhelming stack of paper to their home. As an 8-year-old, Britt was awestruck by the towering pile. This moment ignited their artistic spirit, leading to two years of relentless drawing.
At the age of 10, Britt's older brother gifted them an 8mm movie camera from a Salvation Army thrift store. This modest camera became the catalyst for a lifelong passion. Britt's early fascination with filmmaking led them to recreate classic horror films, involving family and friends as actors. The world of cinema became a captivating realm of exploration.
Today, Britt finds enduring fulfillment and purpose in the dual realms of drawing and short film creation. These artistic avenues provide constant challenge, enchantment, and joy.
In their drawings, Britt seeks to imbue their work with depth and soul. Their art transcends mere representation, delving into the essence of everyday objects, faces, and intimate moments. Through their creations, they explore a wide spectrum of human experiences, from isolation and desire to anxiety, laughter, and fear. Britt's intention is to craft art that feels vulnerable and ephemeral, echoing the transient nature of life itself.
Britt's cinematic achievements have graced prestigious screens at TIFF and various international film festivals. Notably, their work received the distinction of Best Experimental Film at the Worldwide Short Film Festival. They proudly represented Canada at the Roundtable of Independent Filmmakers in New York, and the Canada Council for the Arts selected their creations to represent the nation at Internationale Tanzmesse in Düsseldorf, Germany.
Beyond the world of film, Britt's drawings have found homes in personal and corporate collections around the world. Their artistry has been showcased through two solo exhibitions in Toronto and participation in a notable group exhibition at O'Flaherty's Gallery in NYC, curated by the esteemed Jamian Juliano-Villani.
To explore Britt Randle's captivating world of artistry, please visit their website: brittrandleart.com
Britt Randle is a multidisciplinary queer artist whose creative passions encompass drawing and experimental filmmaking.
Their artistic journey began with a transformative childhood experience. A family friend, who owned a paper mill, delivered an overwhelming stack of paper to their home. As an 8-year-old, Britt was awestruck by the towering pile. This moment ignited their artistic spirit, leading to two years of relentless drawing.
At the age of 10, Britt's older brother gifted them an 8mm movie camera from a Salvation Army thrift store. This modest camera became the catalyst for a lifelong passion. Britt's early fascination with filmmaking led them to recreate classic horror films, involving family and friends as actors. The world of cinema became a captivating realm of exploration.
Today, Britt finds enduring fulfillment and purpose in the dual realms of drawing and short film creation. These artistic avenues provide constant challenge, enchantment, and joy.
In their drawings, Britt seeks to imbue their work with depth and soul. Their art transcends mere representation, delving into the essence of everyday objects, faces, and intimate moments. Through their creations, they explore a wide spectrum of human experiences, from isolation and desire to anxiety, laughter, and fear. Britt's intention is to craft art that feels vulnerable and ephemeral, echoing the transient nature of life itself.
Britt's cinematic achievements have graced prestigious screens at TIFF and various international film festivals. Notably, their work received the distinction of Best Experimental Film at the Worldwide Short Film Festival. They proudly represented Canada at the Roundtable of Independent Filmmakers in New York, and the Canada Council for the Arts selected their creations to represent the nation at Internationale Tanzmesse in Düsseldorf, Germany.
Beyond the world of film, Britt's drawings have found homes in personal and corporate collections around the world. Their artistry has been showcased through two solo exhibitions in Toronto and participation in a notable group exhibition at O'Flaherty's Gallery in NYC, curated by the esteemed Jamian Juliano-Villani.
To explore Britt Randle's captivating world of artistry, please visit their website: brittrandleart.com
Image: Curtains, Oil on board, Matt Crookshank
Image: Curtains, Oil on board, Matt Crookshank
JUL 26TH - AUG 17TH
JUL 26TH - AUG 17TH
NEW PLASTICS / DARTH 8
NEW PLASTICS / DARTH 8
Aaron Nemec / Andrew Harwood
Aaron Nemec / Andrew Harwood
Toronto Jul 26 - Aug 13
Toronto Jul 26 - Aug 13
Reception: Jul 29, 1pm to 8pm
Reception: Jul 29, 1pm to 8pm
Aaron Nemec: ‘New Plastics’
Aaron Nemec: ‘New Plastics’
Aaron Nemec is an artist living near the northern shores of Lake Michigan. There he enjoys the quiet treasures of nature and the local thrift stores. His sculptures, paintings, drawings, performance, audio, and video projects have been shown nationally and internationally. You can find his work at www.defmess.com.
Aaron Nemec is an artist living near the northern shores of Lake Michigan. There he enjoys the quiet treasures of nature and the local thrift stores. His sculptures, paintings, drawings, performance, audio, and video projects have been shown nationally and internationally. You can find his work at www.defmess.com.
“I like to mess with the recognizable and collectable nature of mass-produced ephemeral junk. Some of these knick-knacks, toys, and figurines have attained value through forces of time, scarcity, oddness, or cultural reference. However, much of the stuff is already in or at the threshold of the town dump. Inspired by these old objects, the sculptures I make are composed out of hot glue castings and combined fragments that I can replicate, chop, paint, and reassemble as I see fit. The hot glue has a somewhat unpredictable quality that I enjoy manipulating into new collectables- new objects for the kitchen window sill or art gallery.”
“I like to mess with the recognizable and collectable nature of mass-produced ephemeral junk. Some of these knick-knacks, toys, and figurines have attained value through forces of time, scarcity, oddness, or cultural reference. However, much of the stuff is already in or at the threshold of the town dump. Inspired by these old objects, the sculptures I make are composed out of hot glue castings and combined fragments that I can replicate, chop, paint, and reassemble as I see fit. The hot glue has a somewhat unpredictable quality that I enjoy manipulating into new collectables- new objects for the kitchen window sill or art gallery.”
Andrew Harwood: ‘Darth 8’
Andrew Harwood: ‘Darth 8’
Andrew Harwood is a Winnipeg-based artist, curator, drag queen and writer. Among the first artists to establish a presence in what is now called the Queer West Village Toronto, Art and Design District, his gallery, Zsa Zsa, operated in Queer West from 1998-2005. Andrew was also a founding member of the Toronto Alternative Art Fair International Collective and served as Board of Directors President of A Space Gallery and Board Member of Gallery TPW. He has given lectures on visual art and related topics at the University of Texas, Ontario College of Art and Design, University of Waterloo, Georgian College and at artist-run centres in Ontario and Alberta. His work is held in permanent collections at the University of Guelph, Queen’s University, and in private collections. With nearly two dozen solo shows, and twice as many group shows, for his practice Harwood has received support from the Toronto and Ontario and Arts Councils. Andrew briefly relocated to Winnipeg in 2010 where he completed his MFA at the University of Manitoba’s School of Art.
Andrew Harwood is a Winnipeg-based artist, curator, drag queen and writer. Among the first artists to establish a presence in what is now called the Queer West Village Toronto, Art and Design District, his gallery, Zsa Zsa, operated in Queer West from 1998-2005. Andrew was also a founding member of the Toronto Alternative Art Fair International Collective and served as Board of Directors President of A Space Gallery and Board Member of Gallery TPW. He has given lectures on visual art and related topics at the University of Texas, Ontario College of Art and Design, University of Waterloo, Georgian College and at artist-run centres in Ontario and Alberta. His work is held in permanent collections at the University of Guelph, Queen’s University, and in private collections. With nearly two dozen solo shows, and twice as many group shows, for his practice Harwood has received support from the Toronto and Ontario and Arts Councils. Andrew briefly relocated to Winnipeg in 2010 where he completed his MFA at the University of Manitoba’s School of Art.
“Darth 8 is about the parallels of fashion, science fiction and queer identities. This new body of work looks at one of the most infamous villains in the history of cinema, Darth Vader. Despite Vader's rap sheet, he is also colossally inept at his attempts at universal domination. In some regards, I think, we as the audience, come to view the myriad of Star Wars films because we are so interested in the evil that is personified by Vader. He is part human, part machine and part demon...and now he appears as a decorative object/being covered in and made up of sequins.”
“Darth 8 is about the parallels of fashion, science fiction and queer identities. This new body of work looks at one of the most infamous villains in the history of cinema, Darth Vader. Despite Vader's rap sheet, he is also colossally inept at his attempts at universal domination. In some regards, I think, we as the audience, come to view the myriad of Star Wars films because we are so interested in the evil that is personified by Vader. He is part human, part machine and part demon...and now he appears as a decorative object/being covered in and made up of sequins.”
Image: TF1 Peter Fly, hot glue and enamel, Aaron Nemec
JUL 5TH - JUL 22ND
JUL 5TH - JUL 22ND
GATELESS TEMPLE / THE TONGUES OF HYPNOS
GATELESS TEMPLE / THE TONGUES OF HYPNOS
Romas Astrauskas / Andy Fabo
Romas Astrauskas / Andy Fabo
Toronto Jul 05 - Jul22 2023
Toronto Jul 05 - Jul22 2023
Reception: Jul 08, 1pm to 8pm
Reception: Jul 08, 1pm to 8pm
Romas Astrauskas - Gateless Temple: Artist statement
Romas Astrauskas - Gateless Temple: Artist statement
“When I hear the bird, the bird is me already. Actually, I am not listening to the bird. The bird is here in my mind already, and I am singing with the bird.”
“When I hear the bird, the bird is me already. Actually, I am not listening to the bird. The bird is here in my mind already, and I am singing with the bird.”
~Shunryu Suzuki
~Shunryu Suzuki
Andy Fabo - The Tongues of Hypnos: Show Text
Andy Fabo - The Tongues of Hypnos: Show Text
When Drew invited me to exhibit at The Drey Gallery, he expressed interest in a drawing & video installation titled Aphasia that I created in 1991, using hundreds of shishiki - better known as Japanese haiku cards. This installation showed at Canada House in London UK, The Canadian Cultural Centre in Paris, Chapter in Cardiff Wales and the Hansard Gallery in Southhampton England, as well as a component of my 2005 Survey at MOCA Toronto. It’s now in the collection of the Glenbow Museum in Calgary.
When Drew invited me to exhibit at The Drey Gallery, he expressed interest in a drawing & video installation titled Aphasia that I created in 1991, using hundreds of shishiki - better known as Japanese haiku cards. This installation showed at Canada House in London UK, The Canadian Cultural Centre in Paris, Chapter in Cardiff Wales and the Hansard Gallery in Southhampton England, as well as a component of my 2005 Survey at MOCA Toronto. It’s now in the collection of the Glenbow Museum in Calgary.
Given the challenge, I thought it would be interesting to revisit some of the themes of the initial work as a marker of change in myself and the world around me. Aphasia was created in the midst of the AIDS pandemic and I used the pandemic as a metaphor for the fragmenting of my understanding the world because of the intensity of the crisis and as a means to illuminate the impossibility of describing the devastating effect it was having on so many marginalized communities. But I was also trying to create a foil to a more activist & polemical drawing installation that I created in the same period titled Diagnosis. Aphasia was meant to be more poetic and meditative, more elliptical and enigmatic – while still capturing the affect of an intense health crisis.
Given the challenge, I thought it would be interesting to revisit some of the themes of the initial work as a marker of change in myself and the world around me. Aphasia was created in the midst of the AIDS pandemic and I used the pandemic as a metaphor for the fragmenting of my understanding the world because of the intensity of the crisis and as a means to illuminate the impossibility of describing the devastating effect it was having on so many marginalized communities. But I was also trying to create a foil to a more activist & polemical drawing installation that I created in the same period titled Diagnosis. Aphasia was meant to be more poetic and meditative, more elliptical and enigmatic – while still capturing the affect of an intense health crisis.
The Tongues of Hypnos is a recent creation that manifests this odd period when we are emerging from the Covid pandemic. It tries to grapple with the isolation and dislocation of the past three years by using sleep and its ensuing dreams and nightmares as tropes for our shared experience. Always interested in surrealist notions of the unconscious and stream of consciousness, the words on the cards are like utterances in your sleep, a theme I had visited in the late 1990s in a body of work called The Somniliquist. Unlike AIDS, the entire planet had to deal with Covid. Unlike making art, dreaming is a universal activity.
The Tongues of Hypnos is a recent creation that manifests this odd period when we are emerging from the Covid pandemic. It tries to grapple with the isolation and dislocation of the past three years by using sleep and its ensuing dreams and nightmares as tropes for our shared experience. Always interested in surrealist notions of the unconscious and stream of consciousness, the words on the cards are like utterances in your sleep, a theme I had visited in the late 1990s in a body of work called The Somniliquist. Unlike AIDS, the entire planet had to deal with Covid. Unlike making art, dreaming is a universal activity.
In Greek mythology, Hypnos was the god of sleep and he had a twin brother, Thanatos, the god of non-violent death. Their mother was the goddess of the night, Nyx, who was even feared by Zeus. Hypnos and Thanatos had a host of other siblings who were lesser gods called the Oneiroi which included Moros (doom), Momus (criticism and blame), Oizys (pain), Keres (destiny) Nemesis (retribution), Eras (discord) and numerous other abstract personifications. I was hoping that at least some of this complex web of mythology would emerge from this installation
In Greek mythology, Hypnos was the god of sleep and he had a twin brother, Thanatos, the god of non-violent death. Their mother was the goddess of the night, Nyx, who was even feared by Zeus. Hypnos and Thanatos had a host of other siblings who were lesser gods called the Oneiroi which included Moros (doom), Momus (criticism and blame), Oizys (pain), Keres (destiny) Nemesis (retribution), Eras (discord) and numerous other abstract personifications. I was hoping that at least some of this complex web of mythology would emerge from this installation
JUN 14TH - JUL 1ST
JUN 14TH - JUL 1ST
BEST IN SHOW / CARDBOARD & CLOTH
BEST IN SHOW / CARDBOARD & CLOTH
Michael Stecky / Margaret Glew
Michael Stecky / Margaret Glew
Toronto Jun14 to July 1
Toronto Jun14 to July 1
Best In Show Exhibition Statement:
Best In Show Exhibition Statement:
Best in Show unveils the mesmerizing world of Michael Stecky's latest exhibition at Drey Gallery. With an innovative approach reminiscent of his sculptural reinterpretation of jigsaw puzzles, Stecky now turns his gaze to vintage paint by number kits, a beloved pastime steeped in nostalgic charm since their emergence in 1950s America.
Best in Show unveils the mesmerizing world of Michael Stecky's latest exhibition at Drey Gallery. With an innovative approach reminiscent of his sculptural reinterpretation of jigsaw puzzles, Stecky now turns his gaze to vintage paint by number kits, a beloved pastime steeped in nostalgic charm since their emergence in 1950s America.
Through a rich interplay of materials and techniques, Stecky transforms familiar images of animals—dogs, birds, and deer—into captivating distortions. Layer upon layer of paint stripper, resins, gels, mesh, and pigments exert their weight, causing the subjects to bend and contort, sometimes evoking an unsettling aura. Amidst this surrealistic exploration, one also encounters unexpected beauty.
Through a rich interplay of materials and techniques, Stecky transforms familiar images of animals—dogs, birds, and deer—into captivating distortions. Layer upon layer of paint stripper, resins, gels, mesh, and pigments exert their weight, causing the subjects to bend and contort, sometimes evoking an unsettling aura. Amidst this surrealistic exploration, one also encounters unexpected beauty.
Stecky's artistic practice extends beyond conventional boundaries, utilizing repurposed materials and labor-intensive craft. Sculpture, paintings, videos, audio works—his creations span diverse mediums, often converging to create thought-provoking experiences. Rooted in the history of painting and sculpture, his works captivate with their aesthetic allure while offering conceptual depth.
Stecky's artistic practice extends beyond conventional boundaries, utilizing repurposed materials and labor-intensive craft. Sculpture, paintings, videos, audio works—his creations span diverse mediums, often converging to create thought-provoking experiences. Rooted in the history of painting and sculpture, his works captivate with their aesthetic allure while offering conceptual depth.
With recent participation in Art Karlsruhe 2023 presented by Karl Oskar Gallery and a featured artist position at Art Toronto 2022 with Drey Gallery, Stecky's artistic breadth is undeniable. His works have graced the walls of Plug In I.C.A. and The Winnipeg Art Gallery, while his videos have been showcased on platforms such as CBC and Spanish Public Television. Renowned festivals in Germany, Mexico, Brazil, Portugal, Australia, Japan, and China have celebrated his creations.
With recent participation in Art Karlsruhe 2023 presented by Karl Oskar Gallery and a featured artist position at Art Toronto 2022 with Drey Gallery, Stecky's artistic breadth is undeniable. His works have graced the walls of Plug In I.C.A. and The Winnipeg Art Gallery, while his videos have been showcased on platforms such as CBC and Spanish Public Television. Renowned festivals in Germany, Mexico, Brazil, Portugal, Australia, Japan, and China have celebrated his creations.
A Winnipeg native, Stecky holds a B.F.A. from Concordia University in Montreal and currently resides in Toronto. His art exemplifies a compelling fusion of visual allure and conceptual depth, honoring the lineage of painting and sculpture with each stroke and composition.
A Winnipeg native, Stecky holds a B.F.A. from Concordia University in Montreal and currently resides in Toronto. His art exemplifies a compelling fusion of visual allure and conceptual depth, honoring the lineage of painting and sculpture with each stroke and composition.
Cardboard and Cloth Exhibition Statement:
Cardboard and Cloth Exhibition Statement:
Enter the captivating realm of Cardboard and Cloth, an exhibition by Margaret Glew. Born in the UK and raised in the Canadian Maritimes, Glew's deep connection to nature blossomed amidst the woods and ocean that surrounded her. Drawing the natural world, particularly animals, played a pivotal role in her formative years. As she ventured into the wider world, first in Toronto and then in London, England, Glew discovered the vibrant realm of art and galleries, which became the foundation of her artistic education.
Enter the captivating realm of Cardboard and Cloth, an exhibition by Margaret Glew. Born in the UK and raised in the Canadian Maritimes, Glew's deep connection to nature blossomed amidst the woods and ocean that surrounded her. Drawing the natural world, particularly animals, played a pivotal role in her formative years. As she ventured into the wider world, first in Toronto and then in London, England, Glew discovered the vibrant realm of art and galleries, which became the foundation of her artistic education.
After travels across Europe and North America, Glew settled in Toronto in the mid-1970s. It wasn't until the late 1980s, when her youngest child started school, that she fully embraced her practice. Since then, her artwork has graced numerous exhibitions in Canada and the United States. Glew's talent has been recognized through various grants, and her work has been the subject of insightful essays. Notably, she has become a valued presence in public and corporate collections within her hometown.
After travels across Europe and North America, Glew settled in Toronto in the mid-1970s. It wasn't until the late 1980s, when her youngest child started school, that she fully embraced her practice. Since then, her artwork has graced numerous exhibitions in Canada and the United States. Glew's talent has been recognized through various grants, and her work has been the subject of insightful essays. Notably, she has become a valued presence in public and corporate collections within her hometown.
For Glew, art is an intrinsic part of her being—a means of thinking, self-understanding, and making sense of the world. Employing a diverse range of media, her artistic process is characterized by nonlinear progression. It ebbs and flows, often doubling back upon itself. Ideas, gestures, shapes, and textures are visited and revisited. The interplay between color and black and white unfolds over time, while previously explored and discarded ideas resurface, inviting fresh examination from new perspectives. Through this transformative journey, both the artwork and the artist undergo profound changes.
For Glew, art is an intrinsic part of her being—a means of thinking, self-understanding, and making sense of the world. Employing a diverse range of media, her artistic process is characterized by nonlinear progression. It ebbs and flows, often doubling back upon itself. Ideas, gestures, shapes, and textures are visited and revisited. The interplay between color and black and white unfolds over time, while previously explored and discarded ideas resurface, inviting fresh examination from new perspectives. Through this transformative journey, both the artwork and the artist undergo profound changes.
Cardboard and Cloth beckons viewers into Margaret Glew's profound artistic realm, where creativity intertwines with introspection and the ever-evolving process of creation.
Cardboard and Cloth beckons viewers into Margaret Glew's profound artistic realm, where creativity intertwines with introspection and the ever-evolving process of creation.
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"Art is as essential to me as breathing. It is how I think, how I understand myself, how I make sense of the world.
"Art is as essential to me as breathing. It is how I think, how I understand myself, how I make sense of the world.
I work in a variety of media, and while the physical processes differ, the underlying process does not. This process does not follow a straight line. It proceeds by fits and starts, and it frequently turns back on itself. Ideas and gestures, shapes and textures, are visited and then revisited. Colour surrenders to black and white and then, perhaps months later, reasserts itself. Ideas that were explored and then abandoned re-emerge, to be examined from a new perspective. The work changes and I am changed in the process." -MG
I work in a variety of media, and while the physical processes differ, the underlying process does not. This process does not follow a straight line. It proceeds by fits and starts, and it frequently turns back on itself. Ideas and gestures, shapes and textures, are visited and then revisited. Colour surrenders to black and white and then, perhaps months later, reasserts itself. Ideas that were explored and then abandoned re-emerge, to be examined from a new perspective. The work changes and I am changed in the process." -MG
Image: Best Black Masked Dog, found painting, mixed materials, swarovski crystal elements - Michael Stecky
Image: Best Black Masked Dog, found painting, mixed materials, swarovski crystal elements - Michael Stecky
MAY 19TH - JUN 10TH
MAY 19TH - JUN 10TH
POORTRAITS
POORTRAITS
Jordan Sullivan, Daniel Hughes, Mat Brown, Deadly Prey, Melissa Steckbauer, Matt Crookshank, RF Pangborn, Jennifer Humphries, Charlie Visconages, Ron Hotz, Peter B Hastings, Britt Randle & Cameron Emerson Wylie
Jordan Sullivan, Daniel Hughes, Mat Brown, Deadly Prey, Melissa Steckbauer, Matt Crookshank, RF Pangborn, Jennifer Humphries, Charlie Visconages, Ron Hotz, Peter B Hastings, Britt Randle & Cameron Emerson Wylie
Toronto May19 - Jun10 2023
Toronto May19 - Jun10 2023
Reception: May20, 1pm to 8pm
Reception: May20, 1pm to 8pm
Group portrait exhibition featuring artists from Ghana, NYC, Berlin, Washington DC, Georgia & Toronto
Group portrait exhibition featuring artists from Ghana, NYC, Berlin, Washington DC, Georgia & Toronto
“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.”
“Every portrait that is painted with feeling is a portrait of the artist, not of the sitter. The sitter is merely the accident, the occasion. It is not he who is revealed by the painter; it is rather the painter who, on the coloured canvas, reveals himself.”
Image: Masks / A Motley Crew - Mixed Media on Plywood - Matt Crookshank
Image: Masks / A Motley Crew - Mixed Media on Plywood - Matt Crookshank
APR 19TH - MAY 13TH
APR 19TH - MAY 13TH
THE GREAT AMERICAN THRILL RIDE / YUP
THE GREAT AMERICAN THRILL RIDE / YUP
Evan Jones & Andrew McPhail
Evan Jones & Andrew McPhail
Toronto Apr19 - May13 2023
Toronto Apr19 - May13 2023
Evan Jones draws heavily on the visual language of America, especially the Deep South. He likens his paintings to an antique market, in which objects are juxtaposed without consideration for their original meaning or context but rather for their aesthetic qualities. By bringing together varying and disparate references and ignoring their original meaning, Jones presents them on the equal plane of the canvas as a kind of visual archive. In this way, his subjects can be considered in a new way, having been distilled by paint. Jones was born and raised in Cashiers, in the mountains of North Carolina. He graduated with a Bachelor of Fine Arts degree in painting from SCAD Atlanta and has exhibited throughout the United States. In 2017 Jones’ work was included in the annual publication New American Paintings South. His work was chosen a second time for inclusion in New American Paintings/South, 2020 edition.
Evan Jones draws heavily on the visual language of America, especially the Deep South. He likens his paintings to an antique market, in which objects are juxtaposed without consideration for their original meaning or context but rather for their aesthetic qualities. By bringing together varying and disparate references and ignoring their original meaning, Jones presents them on the equal plane of the canvas as a kind of visual archive. In this way, his subjects can be considered in a new way, having been distilled by paint. Jones was born and raised in Cashiers, in the mountains of North Carolina. He graduated with a Bachelor of Fine Arts degree in painting from SCAD Atlanta and has exhibited throughout the United States. In 2017 Jones’ work was included in the annual publication New American Paintings South. His work was chosen a second time for inclusion in New American Paintings/South, 2020 edition.
Andrew McPhail is a Canadian visual artist. He was born in Calgary Alberta in 1961 and studied at York University where he received his MFA in 1987. Living in Toronto in the 1980's and 90's his work focused primarily on drawing, often with pencil crayon on a polyester film called mylar. After moving to Hamilton in 2005, his interest shifted towards three dimensional work and performance. In his accumulative, craft oriented practice he uses ephemeral, disposable materials such as band aids, Kleenex and post-its to create epic, monumental sculptures and installations and performances . He has exhibited nationally and internationally and in 2013 was the recipient of the Canada Council International Studio in Paris. He is also cofounder, with Stephen Altena, of the Hundred Dollar Gallery and a founding member of The Assembly in Hamilton, Ontario.
Andrew McPhail is a Canadian visual artist. He was born in Calgary Alberta in 1961 and studied at York University where he received his MFA in 1987. Living in Toronto in the 1980's and 90's his work focused primarily on drawing, often with pencil crayon on a polyester film called mylar. After moving to Hamilton in 2005, his interest shifted towards three dimensional work and performance. In his accumulative, craft oriented practice he uses ephemeral, disposable materials such as band aids, Kleenex and post-its to create epic, monumental sculptures and installations and performances . He has exhibited nationally and internationally and in 2013 was the recipient of the Canada Council International Studio in Paris. He is also cofounder, with Stephen Altena, of the Hundred Dollar Gallery and a founding member of The Assembly in Hamilton, Ontario.
Image: Evan Jones ‘That Blessed Hope’ 31” x 24” Acrylic on canvas 2023
Image: Evan Jones ‘That Blessed Hope’ 31” x 24” Acrylic on canvas 2023
MAR 22 - APR 15TH
MAR 22 - APR 15TH
This Burning Liquid Being That I Am / Pink Ruffles in Time
This Burning Liquid Being That I Am / Pink Ruffles in Time
Dual exhibitions by Gillian Frise & Peter B Hastings
Dual exhibitions by Gillian Frise & Peter B Hastings
Exhibition runs March 22nd to April 15th 2023
Exhibition runs March 22nd to April 15th 2023
Opening Reception: Saturday March 25th, 1pm to 8pm
Opening Reception: Saturday March 25th, 1pm to 8pm
Max Ernst
Max Ernst
Image: Gillian Frise, acrylic on cardboard, 12" x 12"
Image: Gillian Frise, acrylic on cardboard, 12" x 12"
FEB 22ND - MAR 11TH
FEB 22ND - MAR 11TH
MY CULT LEADER
MY CULT LEADER
Exhibition by John Nobrega
Exhibition by John Nobrega
Exhibition runs Feb 22nd to March 11th 2023
Exhibition runs Feb 22nd to March 11th 2023
Opening Reception: Saturday Feb 25th, 1pm to 8pm
Opening Reception: Saturday Feb 25th, 1pm to 8pm
The new exhibition by John Nobrega, My Cult Leader, is comprised of two discrete but related bodies of work. A series of text-based paintings based on soft-core magazines and exploitation film posters from the 1970’s, and a group of landscapes with palm trees inspired by the orange sunset mural in Franks office in the 1983 Brian Depalma film Scarface.
The new exhibition by John Nobrega, My Cult Leader, is comprised of two discrete but related bodies of work. A series of text-based paintings based on soft-core magazines and exploitation film posters from the 1970’s, and a group of landscapes with palm trees inspired by the orange sunset mural in Franks office in the 1983 Brian Depalma film Scarface.
These small mixed media paintings on canvas and panel, interrogate the relationship between figuration and abstraction, text and material, Art and bad taste. The artist was fascinated by the way fonts, phrases and graphics from cheap pulp sources suggested a late-twentieth-century cultural anthropology of sex and death. Out of context and often incorporated into dense abstraction, these references still retain their transgressive charge.
These small mixed media paintings on canvas and panel, interrogate the relationship between figuration and abstraction, text and material, Art and bad taste. The artist was fascinated by the way fonts, phrases and graphics from cheap pulp sources suggested a late-twentieth-century cultural anthropology of sex and death. Out of context and often incorporated into dense abstraction, these references still retain their transgressive charge.
The palm tree paintings explore a similar dichotomy, expressed in the famous Scarface tagline “the world is yours”: a version of the American Dream that wallows in profanity and excess, ending ultimately in a massacre. Some of these pieces are sensitively rendered, others are shadowy silhouettes on an abstract ground. A few suggest a hazy 70’s Hollywood romanticism, while others show palm trees burning in broad daylight.
The palm tree paintings explore a similar dichotomy, expressed in the famous Scarface tagline “the world is yours”: a version of the American Dream that wallows in profanity and excess, ending ultimately in a massacre. Some of these pieces are sensitively rendered, others are shadowy silhouettes on an abstract ground. A few suggest a hazy 70’s Hollywood romanticism, while others show palm trees burning in broad daylight.
FEB 4TH - FEB 18TH
FEB 4TH - FEB 18TH
RADIANT FLUX
RADIANT FLUX
Augmented Reality Exhibition by Jenn E Norton
Augmented Reality Exhibition by Jenn E Norton
Exhibition runs Feb 4th to Feb 18th 2023
Exhibition runs Feb 4th to Feb 18th 2023
Jenn E Norton is an artist using time-based media to create immersive, experiential installations using stereoscopic, interactive video, animation, augmented reality, geolocative sound, and kinetic sculpture. Often using video as a starting point within her process, her imaginative compositions use a combination of pre-cinema and contemporary display technologies while exploring the blurring boundaries of virtual and physical realms. Norton’s recent animations and augmented reality apps draw upon her interest in the ways in which information is exchanged between humans, technology, and plants. Current research areas within Norton’s practice explore the use of metaphor in physics as a conceptual genesis, communicative device, poetic practice, and demonstrative application of technological and natural phenomena. Norton has shown her work nationally and internationally, with recent exhibitions in Nuit Blanche (2022, Toronto), Platforms (Athens), and Berlin (public augmented reality series), and is currently a Ph.D. candidate in Visual Arts at York University and is an Assistant Professor in Film + Media at Queen’s University.
Jenn E Norton is an artist using time-based media to create immersive, experiential installations using stereoscopic, interactive video, animation, augmented reality, geolocative sound, and kinetic sculpture. Often using video as a starting point within her process, her imaginative compositions use a combination of pre-cinema and contemporary display technologies while exploring the blurring boundaries of virtual and physical realms. Norton’s recent animations and augmented reality apps draw upon her interest in the ways in which information is exchanged between humans, technology, and plants. Current research areas within Norton’s practice explore the use of metaphor in physics as a conceptual genesis, communicative device, poetic practice, and demonstrative application of technological and natural phenomena. Norton has shown her work nationally and internationally, with recent exhibitions in Nuit Blanche (2022, Toronto), Platforms (Athens), and Berlin (public augmented reality series), and is currently a Ph.D. candidate in Visual Arts at York University and is an Assistant Professor in Film + Media at Queen’s University.
JAN 7TH - JAN 24TH
JAN 7TH - JAN 24TH
Overseas Conscience / Orange Crush
Overseas Conscience / Orange Crush
Dual exhibitions by Ron Loranger & Rod Grigor
Dual exhibitions by Ron Loranger & Rod Grigor
Exhibition runs Jan 7th to Jan 28th 2023
Exhibition runs Jan 7th to Jan 28th 2023
Opening reception Jan 14th, 1pm to 8pm
Opening reception Jan 14th, 1pm to 8pm
“Everything is Dual; everything has poles; everything has its pair of opposites; like and unlike are the same; opposites are identical in nature, but different in degree; extremes meet; all truths are but half-truths; all paradoxes may be reconciled.”
The Principle of Polarity
The Kybalion
Image: 'Crushed Cans' 50" x 40", Acrylic on Canvas, Rod Grigor
DEC 7TH - JAN 7TH
DEC 7TH - JAN 7TH
VICTORY OVER THE SUN 2
VICTORY OVER THE SUN 2
TORONTO DEC 7TH - JAN 7TH
TORONTO DEC 7TH - JAN 7TH
Andreas Golder cannibalizes the history of art, filtering it through the lenses of nightlife and pop culture to create nihilistic figural paintings dealing with the medium’s “eternal subjects”—love, decay, and the circle of life.
Andreas Golder cannibalizes the history of art, filtering it through the lenses of nightlife and pop culture to create nihilistic figural paintings dealing with the medium’s “eternal subjects”—love, decay, and the circle of life.
The Berlin artist creates monstrous characters that call to mind the work of Francis Bacon—grotesques painted in his signature pink that combine notes of Rembrandt, Rubens, Manet and Matisse with a slaughterhouse sensibility.
The Berlin artist creates monstrous characters that call to mind the work of Francis Bacon—grotesques painted in his signature pink that combine notes of Rembrandt, Rubens, Manet and Matisse with a slaughterhouse sensibility.
He works with a soundtrack of death metal music or Baroque opera to find a place of meditation as he paints portraits of his friends and himself, often in images that question his role within the continuum of art history. Such sinister forms are also present in his sculptures, which he calls memorials to the lowest classes.
He works with a soundtrack of death metal music or Baroque opera to find a place of meditation as he paints portraits of his friends and himself, often in images that question his role within the continuum of art history. Such sinister forms are also present in his sculptures, which he calls memorials to the lowest classes.
Image detail: ‘Destroyed Sun’ - Andreas Golder
Image detail: ‘Destroyed Sun’ - Andreas Golder
OCT 19TH - NOV 19TH
OCT 19TH - NOV 19TH
PAPER TRAIL$
PAPER TRAIL$
Ron Loranger, Nicholas Di Genova, John Nobrega, Romas Astrauskas, Matt Crookshank, Margaret Glew, Andrew Ooi & Stephanie Cormier
Toronto Oct 19 - Nov 19 2022
This group exhibition highlights contemporary artists who utilize paper as a site of rigorous formal and conceptual inquiry through direct manipulation and engagement with its materiality. The exhibition includes work by Ron Loranger, Nicholas Di Genova, John Nobrega, Romas Astrauskas, Matt Crookshank, Margaret Glew, Andrew Ooi & Stephanie Cormier.
This group exhibition highlights contemporary artists who utilize paper as a site of rigorous formal and conceptual inquiry through direct manipulation and engagement with its materiality. The exhibition includes work by Ron Loranger, Nicholas Di Genova, John Nobrega, Romas Astrauskas, Matt Crookshank, Margaret Glew, Andrew Ooi & Stephanie Cormier.
Paper, the traditional support of drawing, came to occupy a particular position in conceptual and minimalist practices during the 1960s and 1970s with the rising interest in process and materials. Given the ubiquity and malleability of the medium, artists have continued to interrogate its fundamental properties, formal qualities, and its broader artistic and cultural associations. As the title of the exhibition suggests, many of the works on view evidence the journey and active hand of the artist on and within their very surface, thereby complicating notions of drawing as necessarily dictated by conventional modes of mark-making or graphic lines.
Paper, the traditional support of drawing, came to occupy a particular position in conceptual and minimalist practices during the 1960s and 1970s with the rising interest in process and materials. Given the ubiquity and malleability of the medium, artists have continued to interrogate its fundamental properties, formal qualities, and its broader artistic and cultural associations. As the title of the exhibition suggests, many of the works on view evidence the journey and active hand of the artist on and within their very surface, thereby complicating notions of drawing as necessarily dictated by conventional modes of mark-making or graphic lines.
Image: ‘Untitled’ ink on paper, John Nobrega
Image: ‘Untitled’ ink on paper, John Nobrega
OCT 27TH - OCT 30TH
OCT 27TH - OCT 30TH
ART TORONTO
ART TORONTO
John Kissick, Matt Crookshank, Michael Stecky, Melissa Steckbauer & Drew Simpson
Toronto Oct 27 - Oct 30 2022
Art Toronto 2022 featured 90+ galleries from across Canada, the US and abroad.
Art Toronto 2022 featured 90+ galleries from across Canada, the US and abroad.
Canada's art fair presented 20 installations and project spaces, a curated exhibition space and a full program of talks and tours.
Canada's art fair presented 20 installations and project spaces, a curated exhibition space and a full program of talks and tours.
SEPT 15TH - OCT 15TH
SEPT 15TH - OCT 15TH
GIRLHOOD
GIRLHOOD
Sarah Sproule
Opening Sep 17, 1-8pm
Toronto Sep 15 - Oct 15 2022
Sarah Sproule is an emerging artist and arts administrator with a BFA in Studio Arts and a BA in Art History from McMaster University. Sarah works primarily in sculpture, printmaking, and the casting and mould-making process. Their work explores the relationship between the abjected body and their experience of fatness, disability, and queerness and the intersections that exist between them.
Sarah Sproule is an emerging artist and arts administrator with a BFA in Studio Arts and a BA in Art History from McMaster University. Sarah works primarily in sculpture, printmaking, and the casting and mould-making process. Their work explores the relationship between the abjected body and their experience of fatness, disability, and queerness and the intersections that exist between them.
Image: Triptych ‘Hide & Seek’ mixed materials on wood
Image: Triptych ‘Hide & Seek’ mixed materials on wood
AUG 17TH - SEPT 3RD
AUG 17TH - SEPT 3RD
THE WILD KINDNESS
THE WILD KINDNESS
SOLO EXHIBITION BY DREW SIMPSON
Toronto AUG 17 - SEPT 3 2022
I wrote a letter to a wildflower
I wrote a letter to a wildflower
On a classic nitrogen afternoon
On a classic nitrogen afternoon
Some power that hardly looked like power
Some power that hardly looked like power
Said, I'm perfect in an empty room
Said, I'm perfect in an empty room
Four dogs in the distance
Four dogs in the distance
Each stands for a kindness, yeah
Each stands for a kindness, yeah
Bluebirds lodged in an evergreen altar
Bluebirds lodged in an evergreen altar
I'm gonna shine out in the wild kindness
I'm gonna shine out in the wild kindness
I'm gonna shine out in the wild kindness
I'm gonna shine out in the wild kindness
I'm gonna shine out in the wild kindness
I'm gonna shine out in the wild kindness
And hold the world to its word
And hold the world to its word
Excerpt from ‘The Wild Kindness’ by Silver Jews
Excerpt from ‘The Wild Kindness’ by Silver Jews
Image: Man After Man No. 4, Acrylic on Plywood, 24" x 24"
Image: Man After Man No. 4, Acrylic on Plywood, 24" x 24"
JULY 27TH - AUG 13TH
JULY 27TH - AUG 13TH
UNDER THE HAPPENSTANCE BRIDGE
UNDER THE HAPPENSTANCE BRIDGE
Laurie Skantzos and Ian Leach
Toronto Jul 27 - Aug 13 2022
As two artists sharing their lives together, Ian and Laurie employ different physical approaches to their work, but share a common exploration of ideas within set parameters.
As two artists sharing their lives together, Ian and Laurie employ different physical approaches to their work, but share a common exploration of ideas within set parameters.
Ian works with salvaged findings - favouring cardboard, reclaimed wood and rescued house paint. The works are created with no preconceived idea before entering the studio, and have a physicality and immediacy to them. Laurie works with repeated, templated forms, exploring endless colour relationships and textures. Her work has evolved from assemblages created from detritus strewn on the studio floor and mounted on shaped plywood. They have been steadily refined over the past three years and are now painted directly on the wood. Both artists' work retain an imperfection and rawness that references their beginnings. They offer a gentle invitation to be present with each piece and its surroundings.
Ian works with salvaged findings - favouring cardboard, reclaimed wood and rescued house paint. The works are created with no preconceived idea before entering the studio, and have a physicality and immediacy to them. Laurie works with repeated, templated forms, exploring endless colour relationships and textures. Her work has evolved from assemblages created from detritus strewn on the studio floor and mounted on shaped plywood. They have been steadily refined over the past three years and are now painted directly on the wood. Both artists' work retain an imperfection and rawness that references their beginnings. They offer a gentle invitation to be present with each piece and its surroundings.
Image: Work by Laurie Skantzos
Image: Work by Laurie Skantzos
JULY 6TH - JULY 23RD
JULY 6TH - JULY 23RD
APOPHENIA ZEPHYR NO. 8
APOPHENIA ZEPHYR NO. 8
Joe Becker, John Rogers, Charlie Visconage, Matt Crookshank, Cameron Wylie, Tyler Armstrong, Jonah Strub, John Kissick & James Hiyme Brummett
Toronto Jul 6 - Jul 23 2022
Apophenia Zephyr is an ongoing series of group exhibitions by The Drey set on exploring the aesthetic whiffs that emanate from mistakenly meaningful connections between unrelated things.
Apophenia Zephyr is an ongoing series of group exhibitions by The Drey set on exploring the aesthetic whiffs that emanate from mistakenly meaningful connections between unrelated things.
Image: John Rogers
Image: John Rogers
JUNE 15TH - JULY 2ND
JUNE 15TH - JULY 2ND
A SEAT AT THE TABLE
A SEAT AT THE TABLE
Solo exhibition by Cameron Wylie
Toronto Jun 15 - Jul 2 2022
Each seat at the kitchen table is an invitation. An empty chair calls for us to settle in and enjoy a meal. The other vacant seats ask for company, making the kitchen table an inherently communal space. Whether it be sipping a morning coffee, or sitting down for an intricate appetizer, dinner and dessert, a set table beckons us to enjoy one another’s company. Breaking bread together transforms the mundane and repetitive practice of eating into a transcendent ritual. Repeated differently with each dinner, the procession of a meal is spiritual simply through being together. The rites of eating connect us to one another – not by the specific food that is served, but through the conversations between bites, and the love that goes into preparing food for friends and family. The artwork in A Seat at the Table speaks to this sense of intimacy, and evoke the spiritual potentials of convening to eat together. These paintings motion for viewers to pull up a seat at the table, relax, and enjoy one another’s company.
Text by Hailey Kobrin
MAY 25TH - JULY 11TH
MAY 25TH - JULY 11TH
THE WISDOM OF IMPERFECTION
THE WISDOM OF IMPERFECTION
An Exhibition by Romas Astrauskas
Toronto May 25 - Jun 11 2022
I tend to use found materials in my practice, worn and weathered things that visually reveal an obvious temporal history. Often my ensuing decisions and choices are informed or influenced by these arbitrary elements of degradation. My pursuit is to make something elegant, meaningful or poetic out of something that is superficially very crude and simple. To disregard fussiness and achieve results with a minimum display in an effort to frame and highlight the wisdom and truth found in imperfection.
I tend to use found materials in my practice, worn and weathered things that visually reveal an obvious temporal history. Often my ensuing decisions and choices are informed or influenced by these arbitrary elements of degradation. My pursuit is to make something elegant, meaningful or poetic out of something that is superficially very crude and simple. To disregard fussiness and achieve results with a minimum display in an effort to frame and highlight the wisdom and truth found in imperfection.
image: Romas Astrauskas
image: Romas Astrauskas
MAY 4TH - MAY 21ST
MAY 4TH - MAY 21ST
DOUBLE RAINBOW
DOUBLE RAINBOW
Solo exhibition by Michael Stecky
Toronto May 4 - May 21 2022
The Drey Gallery, Toronto presents a collection of new sculptural works from artist Michael Stecky.
The Drey Gallery, Toronto presents a collection of new sculptural works from artist Michael Stecky.
Jigsaw puzzles, before completion exist in an abstracted state with an embedded set of rules for transformation into a photographic image. Stecky’s series of sculptural paintings or assemblages explore the idea of an alternative organization of puzzle pieces. The overpainted puzzle images influence the artwork’s organization, acting as a schematic for a new work. The repetition of pattern and colour creates a magnetic energy below the surface. The compositions read at once within the tradition of abstract modernist paintings but also suggest textile works or the modular nature of data streams. The exhibition title, considers the premise of the double rainbow being a rainbow and its shadow self, composed of both intense colour and monochromatic black or dark elements.
Jigsaw puzzles, before completion exist in an abstracted state with an embedded set of rules for transformation into a photographic image. Stecky’s series of sculptural paintings or assemblages explore the idea of an alternative organization of puzzle pieces. The overpainted puzzle images influence the artwork’s organization, acting as a schematic for a new work. The repetition of pattern and colour creates a magnetic energy below the surface. The compositions read at once within the tradition of abstract modernist paintings but also suggest textile works or the modular nature of data streams. The exhibition title, considers the premise of the double rainbow being a rainbow and its shadow self, composed of both intense colour and monochromatic black or dark elements.
Image: Detail from 'MURMURATION'
Image: Detail from 'MURMURATION'
mixed media sculpture
mixed media sculpture
Found objects, spray-paint, wood
Found objects, spray-paint, wood
APRIL 13TH - APRIL 30TH
APRIL 13TH - APRIL 30TH
IT'S AN INSIDE JOB
IT'S AN INSIDE JOB
New Work by Michael Nathaniel Green
Toronto Apr 13 - Apr 30 2022
Much of our existence overwhelms, bewilders, and causes us to function on auto pilot. Whether I want it to be or not the surreal is at the foundation of my work. My first hand experience of psychosis has revealed to me that there is so much more to reality than what we take in from our five senses. This invisible world is something I want to touch in my work and immerse the viewer in. I want to evoke the question, “What exactly is going on here?” like a bewildering still life. By emphasizing the relationship of the in-between; the objects and their placement unfold a poetic dialogue that points to the invisible. The objects become more of potentialities than solid objects with strong hints of the Ephemeral lingering in the work. These Ephemeral moments in the invisible world point to emotions, fragility, and mental health, all themes I use in my work.
Much of our existence overwhelms, bewilders, and causes us to function on auto pilot. Whether I want it to be or not the surreal is at the foundation of my work. My first hand experience of psychosis has revealed to me that there is so much more to reality than what we take in from our five senses. This invisible world is something I want to touch in my work and immerse the viewer in. I want to evoke the question, “What exactly is going on here?” like a bewildering still life. By emphasizing the relationship of the in-between; the objects and their placement unfold a poetic dialogue that points to the invisible. The objects become more of potentialities than solid objects with strong hints of the Ephemeral lingering in the work. These Ephemeral moments in the invisible world point to emotions, fragility, and mental health, all themes I use in my work.
Image: Detail from 'Invisible Offering' mixed media sculpture
Image: Detail from 'Invisible Offering' mixed media sculpture
MARCH 26TH - APRIL 9TH
MARCH 26TH - APRIL 9TH
MY WILL IS GOOD
MY WILL IS GOOD
Solo exhibition by John Nobrega
Toronto Mar 26 - Apr 9 2022
“My Will is Good” an exhibition of new paintings by John Nobrega, takes the form of 12 portraits of Catholic Nuns, each in a state of heightened ecstatic experience. The individual Nuns, depersonalized in their traditional habits become icons of grief, ecstasy, or rage, respectively. The imagery for these portraits is drawn from Nunsploitation films , a genre of primarily European soft-core exploitation films that peaked in the 1970’s. The plot of these films generally describe a downward spiral, wherein the Sisters of a convent descend into decadence, madness and violence. Nobrega isolates these profane images, and in painting them in the mode of Classical European Religious Art, restores them to the status of Sacred Iconography.
“My Will is Good” an exhibition of new paintings by John Nobrega, takes the form of 12 portraits of Catholic Nuns, each in a state of heightened ecstatic experience. The individual Nuns, depersonalized in their traditional habits become icons of grief, ecstasy, or rage, respectively. The imagery for these portraits is drawn from Nunsploitation films , a genre of primarily European soft-core exploitation films that peaked in the 1970’s. The plot of these films generally describe a downward spiral, wherein the Sisters of a convent descend into decadence, madness and violence. Nobrega isolates these profane images, and in painting them in the mode of Classical European Religious Art, restores them to the status of Sacred Iconography.
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
Image: 'Untitled' 9"x12" oil on canvas
MARCH 2ND - MARCH 19TH
MARCH 2ND - MARCH 19TH
I’M A TERRIBLE PERSON AND EVERYBODY KNOWS IT
I’M A TERRIBLE PERSON AND EVERYBODY KNOWS IT
New Work by Kineko Ivic
Toronto Mar 2 - Mar 19 2022
Kineko Ivic is a Toronto-based multi disciplinary artist and curator, currently creating hybrid works that fluctuate between figurative and abstraction.
Kineko Ivic is a Toronto-based multi disciplinary artist and curator, currently creating hybrid works that fluctuate between figurative and abstraction.
Ivic’s current exhibition at The Drey titled ‘I’M A TERRIBLE PERSON AND EVERYBODY KNOWS IT’ is a series of paintings that depict personages that he refers to as ‘Goblins’
Ivic’s current exhibition at The Drey titled ‘I’M A TERRIBLE PERSON AND EVERYBODY KNOWS IT’ is a series of paintings that depict personages that he refers to as ‘Goblins’
Each Goblin carries an emotive text across their torso, usually derived from a pop culture limerick.
Each Goblin carries an emotive text across their torso, usually derived from a pop culture limerick.
Greener Pastures gallery was the brainchild of Ivic which for over half a decade put on some of Toronto’s most diverse and well received international exhibitions.
Greener Pastures gallery was the brainchild of Ivic which for over half a decade put on some of Toronto’s most diverse and well received international exhibitions.
Apart from exhibiting others works across Canada, USA and Europe, Ivic’s art has been featured at Andrew Kreps Gallery NYC, Angell Gallery Toronto, Anne deVillipouix Paris, Gavin Brown’s Passerby NYC and Freight and Volume NYC.
Apart from exhibiting others works across Canada, USA and Europe, Ivic’s art has been featured at Andrew Kreps Gallery NYC, Angell Gallery Toronto, Anne deVillipouix Paris, Gavin Brown’s Passerby NYC and Freight and Volume NYC.
All paintings, oil and acrylic on canvas,
All paintings, oil and acrylic on canvas,
Hearts
Hearts
16” x 20"
16” x 20"
Oil and acrylic on canvas
Oil and acrylic on canvas
FEB 9TH - FEB 28TH
FEB 9TH - FEB 28TH
WILDING
WILDING
Solo exhibition by Melissa Steckbauer
Solo exhibition by Melissa Steckbauer
Through her work, the artist, reiki teacher and lifelong student of metaphysics-Melissa Steckbauer seeks to increase possibilities of intimacy and communication by emphasizing the ecstasy of everyday human experience.
Through her work, the artist, reiki teacher and lifelong student of metaphysics-Melissa Steckbauer seeks to increase possibilities of intimacy and communication by emphasizing the ecstasy of everyday human experience.
Steckbauer was a member of the collaborative artist network ƒƒ, and founding director of the exhibition space, The Wand, she now runs The Sensortorium and lives and works in Berlin. For the last several years – and after a comprehensive focus on painting – she has been developing a body of work on paper, exploring all of the facets and complexities of human sexuality through this medium.
Steckbauer was a member of the collaborative artist network ƒƒ, and founding director of the exhibition space, The Wand, she now runs The Sensortorium and lives and works in Berlin. For the last several years – and after a comprehensive focus on painting – she has been developing a body of work on paper, exploring all of the facets and complexities of human sexuality through this medium.
Opening reception, Saturday February 12th, 1pm - 7pm
Opening reception, Saturday February 12th, 1pm - 7pm
( Refreshments generously provided by our friends at Great Lakes Brewery )
( Refreshments generously provided by our friends at Great Lakes Brewery )
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
Image: 'Untitled' 9 1/2" x 7", acrylic on paper
Image: 'Untitled' 9 1/2" x 7", acrylic on paper
JAN 8TH - FEB 5TH
JAN 8TH - FEB 5TH
SUDDEN DEATH
SUDDEN DEATH
New works by Tyler Armstrong
New works by Tyler Armstrong
Tyler Armstrong is a Canadian artist enveloped in highly expressive figurative and still life acrylic and oil based paintings, collages and drawings. His painting ‘Hypocrite’ was chosen by Spanish publisher, Fulgencio Pimentel, to be featured on the cover of author Ruben Lardin’s latest novel, “La hora atomica” (The Atomic Hour). He has showcased work in solo and group exhibitions in Toronto, Los Angeles, Ottawa, Mississauga, Hamilton and London.
Tyler Armstrong is a Canadian artist enveloped in highly expressive figurative and still life acrylic and oil based paintings, collages and drawings. His painting ‘Hypocrite’ was chosen by Spanish publisher, Fulgencio Pimentel, to be featured on the cover of author Ruben Lardin’s latest novel, “La hora atomica” (The Atomic Hour). He has showcased work in solo and group exhibitions in Toronto, Los Angeles, Ottawa, Mississauga, Hamilton and London.
Opening reception, Saturday January 15th, 1pm - 6pm
Opening reception, Saturday January 15th, 1pm - 6pm
( Refreshments generously provided by our friends at Great Lakes Brewery )
( Refreshments generously provided by our friends at Great Lakes Brewery )
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
Image: 'Birds of a feather' 10" x 8", acrylic on canvas
Image: 'Birds of a feather' 10" x 8", acrylic on canvas
DEC 4TH - JAN 4TH
DEC 4TH - JAN 4TH
UNCOMMON DENOMINATOR
UNCOMMON DENOMINATOR
The Drey gallery is excited to announce its expansion from Berlin to Toronto this December with our kick off exhibition featuring the works of local multi disciplinary artist Matt Crookshank.
The Drey gallery is excited to announce its expansion from Berlin to Toronto this December with our kick off exhibition featuring the works of local multi disciplinary artist Matt Crookshank.
Crookshank’s new macabre digital series ‘Uncommon Denominator’ will be housed simultaneously at both Drey locations in an effort to bridge the distances, both physical and metaphysical between On and Off.
Crookshank’s new macabre digital series ‘Uncommon Denominator’ will be housed simultaneously at both Drey locations in an effort to bridge the distances, both physical and metaphysical between On and Off.
Matt Crookshank is a guerrilla ontologist, gonzo alchemist and multi-disciplinary artist living and working in Toronto. His practice fearlessly encompasses paint, drawing, performance, design, and Emmy award nominated digital animation and effects. An enfant terrible sprung from the Queen West art scene of the early oughties, Crookshank lives to collaborate, break molds, and take risks, applying a gleefully slapstick contemporary art sensibility to perennial themes such as death, art, love, trauma, and loss. Part Jokester, part shaman, Crookshank intrepidly follows his artistic intuition wherever it may lead, creating wild painted and digital abstracts, ribald performance, fluid drawings and intensely detailed and painterly digital montages. In the past he has worked with General Hardware Contemporary and Georgia Sherman projects in Toronto. Abroad he has shown at Galeria Anomalia in Mexico City and is slated for an upcoming show at the Drey Gallery in Berlin.
Matt Crookshank is a guerrilla ontologist, gonzo alchemist and multi-disciplinary artist living and working in Toronto. His practice fearlessly encompasses paint, drawing, performance, design, and Emmy award nominated digital animation and effects. An enfant terrible sprung from the Queen West art scene of the early oughties, Crookshank lives to collaborate, break molds, and take risks, applying a gleefully slapstick contemporary art sensibility to perennial themes such as death, art, love, trauma, and loss. Part Jokester, part shaman, Crookshank intrepidly follows his artistic intuition wherever it may lead, creating wild painted and digital abstracts, ribald performance, fluid drawings and intensely detailed and painterly digital montages. In the past he has worked with General Hardware Contemporary and Georgia Sherman projects in Toronto. Abroad he has shown at Galeria Anomalia in Mexico City and is slated for an upcoming show at the Drey Gallery in Berlin.
Opening reception, Saturday Dec 4th, 1pm - 8pm
Opening reception, Saturday Dec 4th, 1pm - 8pm
( Refreshments generously provided by our friends at Great Lakes Brewery )
( Refreshments generously provided by our friends at Great Lakes Brewery )
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
The Drey Toronto, 1229A Woodbine Ave, M4C 4E1, East York
The Drey Berlin, Pistorusstrasse 100, 103086. Berlin DE
The Drey Berlin, Pistorusstrasse 100, 103086. Berlin DE
Image: 'Death' 2021, Digital Print by Matt Crookshank
Image: 'Death' 2021, Digital Print by Matt Crookshank
JULY 24th - SEPT 1st
JULY 24th - SEPT 1st
DEN OF DAGGERS
DEN OF DAGGERS
While our Toronto storefront gallery gets finalized, The Drey is hosting its second huiskammer exhibition featuring the constructively heavy works of artists Romas Astrauskas, Michael Stecky and Simon Petepiece.
While our Toronto storefront gallery gets finalized, The Drey is hosting its second huiskammer exhibition featuring the constructively heavy works of artists Romas Astrauskas, Michael Stecky and Simon Petepiece.
"Found objects, chance creations, ready-mades ( mass-produced items promoted into art objects ) abolish the separation between art and life. The commonplace is miraculous if rightly seen" Charles Simic
Opening reception, Saturday July 24th, 2pm - 8pm
Opening reception, Saturday July 24th, 2pm - 8pm
The Drey, 1229 (1/2) Woodbine Ave, M4C 4E1, East York
The Drey, 1229 (1/2) Woodbine Ave, M4C 4E1, East York
Image: Orange Transient Spike by Michael Stecky
Image: Orange Transient Spike by Michael Stecky
JULY 10th - SEPT 1st
JULY 10th - SEPT 1st
SMEARBALLS: CRYPTODUMPS
SMEARBALLS: CRYPTODUMPS
Director and animator, Nick DenBoer is exhibiting a montage of his Cryptodumps at The Drey Berlin's street front video booth.
Director and animator, Nick DenBoer is exhibiting a montage of his Cryptodumps at The Drey Berlin's street front video booth.
DenBoer is an internationally recognized artist in the medium of animation with a recent Juno nomination for his work as well as holding tenure as a content creator for Conan O'Brien.
DenBoer is an internationally recognized artist in the medium of animation with a recent Juno nomination for his work as well as holding tenure as a content creator for Conan O'Brien.
Opening reception, Saturday July 10th, 12pm - 5pm
Opening reception, Saturday July 10th, 12pm - 5pm
The Drey Berlin: Pistoriusstraße 100, 13086 Berlin.
The Drey Berlin: Pistoriusstraße 100, 13086 Berlin.
JUN 19th - JULY 19th
JUN 19th - JULY 19th
Candy Jail
Candy Jail
While our storefront gallery gets finalized, The Drey is launching Toronto's only international Huiskammer gallery this summer! Please join us for our inaugural exhibition 'Candy Jail' at our Toronto satellite project space with featured artists:
While our storefront gallery gets finalized, The Drey is launching Toronto's only international Huiskammer gallery this summer! Please join us for our inaugural exhibition 'Candy Jail' at our Toronto satellite project space with featured artists:
Hiyme Brummett, Ed DeRyke, Laurie Skantzos and John Kissick.
Hiyme Brummett, Ed DeRyke, Laurie Skantzos and John Kissick.
Opening reception, Saturday June 19th, 2pm - 8pm
Opening reception, Saturday June 19th, 2pm - 8pm
The Drey: 1229 ( 1/2 ) Woodbine Ave.
The Drey: 1229 ( 1/2 ) Woodbine Ave.
JAN 1st - MARCH 1st 2021
JAN 1st - MARCH 1st 2021
Twenty one Improvised Extinctions:
Twenty one Improvised Extinctions:
Tasman Richardson @ The Drey Berlin
Tasman Richardson @ The Drey Berlin
1200 digital paintings, drawn by the artist, interpreted by gauGAN, the AI app. Each iteration has been an attempt to steer a narrative, not knowing how each step would be interpreted by the AI. I draw, it responds, then I respond with small revisions, always building on the previous result. Each landscape was evolved slowly and then suddenly scrubbed by a cataclysm, wiping the slate to begin a new world. Meanwhile, day and night, meeting and working at my screen, my window started to feel like another screen, under glass. Window browsing virtual and real are more alike now. We cast ourselves into the screens and the screens respond, interpret our wants, and narrow our field of view until our landscape is reduced to a soliloquy to ourselves.
1200 digital paintings, drawn by the artist, interpreted by gauGAN, the AI app. Each iteration has been an attempt to steer a narrative, not knowing how each step would be interpreted by the AI. I draw, it responds, then I respond with small revisions, always building on the previous result. Each landscape was evolved slowly and then suddenly scrubbed by a cataclysm, wiping the slate to begin a new world. Meanwhile, day and night, meeting and working at my screen, my window started to feel like another screen, under glass. Window browsing virtual and real are more alike now. We cast ourselves into the screens and the screens respond, interpret our wants, and narrow our field of view until our landscape is reduced to a soliloquy to ourselves.
1 min 20 sec loop, 1080x1080p, 30 fps, stereo.
1 min 20 sec loop, 1080x1080p, 30 fps, stereo.
OCT 29th - JAN 1st 2021
OCT 29th - JAN 1st 2021
Apophenia Zephyr
Apophenia Zephyr
Our sister gallery-The Drey Berlin, kicks off its Deutschland expansion with an exploration of the aesthetic whiffs that emanate from mistakenly meaningful connections between unrelated things.
Our sister gallery-The Drey Berlin, kicks off its Deutschland expansion with an exploration of the aesthetic whiffs that emanate from mistakenly meaningful connections between unrelated things.
Vernissage: Thursday October 29th, 5pm to 10pm.
This salon style grouping will feature artworks by: Melissa Steckbauer; Matt Crookshank; Romas Astrauskas; John Kissick; Michael N Green; Ron Loranger; Christopher Lori; Drew Simpson and Casey McGlynn.
The Drey's sister gallery is located at the Weissensee Studio, Pistoriusstraße 100, 13086 Berlin.
Promo image by Casey McGlynn, 'Motorcycle Momma' 2018, acrylic, India ink, oil pastel
Sept 26th, 2020
Sept 26th, 2020
IMMACULATE MISCONCEPTION
IMMACULATE MISCONCEPTION
It's our first birthday and to celebrate we're having an official baby shower to welcome our newest foreign bundle of joy, The Drey Berlin @ Weißenssee Studio.
It's our first birthday and to celebrate we're having an official baby shower to welcome our newest foreign bundle of joy, The Drey Berlin @ Weißenssee Studio.
“The two most important days in your life are the day you are born and the day you find out why.”
“The two most important days in your life are the day you are born and the day you find out why.”
― Mark Twain
Vernissage: Saturday Sept 26th, 12 to 6
New works being exhibited by Michael Nathaniel Green and James (Hiyme) Brummett.
New works being exhibited by Michael Nathaniel Green and James (Hiyme) Brummett.
Also in attendance :
Also in attendance :
Ulysses Castellanos, Kiniko Ivic, Matt Crookshank, Jubal Brown, Ron Loranger, Christopher Lori, Ed de Ryk, SP38, Casey McGlynne, John Kissick and Romas Astrauskas
Ulysses Castellanos, Kiniko Ivic, Matt Crookshank, Jubal Brown, Ron Loranger, Christopher Lori, Ed de Ryk, SP38, Casey McGlynne, John Kissick and Romas Astrauskas
Promotional image: Matt Crookshank 'Illuminated Caveman' (detail)
July 18 - Jan 1, 2020
July 18 - Jan 1, 2020
UNLIMITED HANGOUT
UNLIMITED HANGOUT
In an attempt to atone for the contemporary trend of curatorial malpractice, The Drey will distance itself from the current climate of mass manufactured likabilty and divisional descentism through the creation of a fictitious art collective we’re calling “Unlimited Hangout’
A Limited Hangout is "spy jargon for a favourite and frequently used gimmick of the clandestine professionals. When their veil of secrecy is shredded and they can no longer rely on a phony cover story to misinform the public, they resort to admitting—sometimes even volunteering—some of the truth while still managing to withhold the key and damaging facts in the case. The public, however, is usually so intrigued by the new information that it never thinks to pursue the matter further."
Vernissage: Saturday July 18th, 12 to 6
Exhibition runs into the dystopian year 2021
Exhibiting artists:
Ulysses Castellanos, Kiniko Ivic, Matt Crookshank, Jubal Brown, Ron Loranger, Christopher Lori, Ed de Ryk, SP38, Casey McGlynne, John Kissick, Romas Astrauskas and James (Hiyme) Brummett.
Promotional image: Ulysses Castellanos, detail of "Royal Family' Courtesy of Georgia Scherman Projects.
June 24 - July 16, 2020
June 24 - July 16, 2020
TERRITORIAL PISSINGS
TERRITORIAL PISSINGS
Reception : Saturday, July 4th, 3 - 9pm
Exhibition Dates: June 24th- July 16th, 2020
Location: The Drey, 515 Main St, Unit M2, Glen Williams
Territorial Pissings features the private collection of Gallery Overlord, Drew Simpson. Artists include: Ron Loranger, Pascal Paquette, Romas Astraukas, Istvan Kantor, Mat Brown, Joe Becker, Peter Wilde, Derik Mainella, Matt Bennett, John Kissick, Robert Farmer, Jubal Brown and Tony Toccalino.
APR 1 - JUNE 1, 2020
APR 1 - JUNE 1, 2020
DEN OF THE DAMNED
DEN OF THE DAMNED
Deception Reception : Saturday, May 2nd, 3 - 9pm
Exhibition Dates: April 1st - June 1st, 2020
Location: The Drey, 515 Main St, Unit M2, Glen Williams
The Drey has the privilege of hosting Monty Cantsin as our 3rd exhibiting solo artist during the Covid 19-84 Plandemic.
Istvan Kantor (a.k.a. Monty Cantsin) is active in the fields of robotics, sound, video, performance and new media. His work has been shown at many prestigious international art events, including Documenta and Ars Electronica.
Infamous for his "blood-x donations" to the collections of the Museum of Modern Art (New York), the National Gallery (Ottawa), AGO (Toronto), and the Ludwig Museum (Koln), just to mention a few, Kantor/Cantsin's criminal records are even longer than his list of awards. The media and critics have described his work as rebellious, anti-authoritarian, and intellectually assaulting, as well as technically innovative and highly experimental.
He has received the Telefilm Award for Best Canadian Video (Images festival, Toronto), the Transmediale 01 award in Berlin Germany, for his new video Broadcast, and the Canadian Governor General's Award in Visual and Media Arts.
Internationally known as the founder of Neoism, Istvan has lived in Budapest, Paris, Montreal, Portland, New York and since 1991, Toronto Canada.
FEB 1 - APR 1, 2020
FEB 1 - APR 1, 2020
CLUSTER FCUK
CLUSTER FCUK
Opening Reception: Saturday, March 7th, 12 - 6pm
Exhibition Dates: February 1st - April 1st, 2020
Location: The Drey, 515 Main St, Unit M2, Glen Williams
The Drey is pleased to announce its first salon-style exhibition on display from Feb 1 – April 1 at our new gallery in the Williams Mill.'Cluster Fcuk' features dozens of artworks by Amanda Reeves, Romas Astrauskas, Andy DeCola and Drew Simpson.
The Salon exhibition style was established in 1667, by the French Academie des Beaux-Arts and held in Paris at Louvre. In order to accommodate the vast quantity of work submitted by students of the Academie des Beaux-Arts, artworks were displayed from floor to ceiling with little space separating frames. This style has since been incorporated throughout history in museums and galleries, including the Art Gallery of Ontario’s display of its European collection.
DEC 7 - JAN 15, 2020
DEC 7 - JAN 15, 2020
STAY POSITIVE
STAY POSITIVE
STAY POSITIVEA preview of new work by Jubal BrownThe Drey515 Main Street, Unit M2, Glen Williams ONL7G 3S9Opening reception, Saturday December 7th, noon till 6pmExhibition runs December 7th to January 15th 2020 Jubal Brown STAY POSITIVE – Artist statement It has always been my dream to be an iconoclast, but having a good time got in the way. STAY POSITIVE marks my return to art object exhibition after a hiatus of 10+ years. My personal difficulty with the “arts community” split my loyalties between identifying as an artist and being a scumbag outsider, struggling with my place in the community while fomenting a decadent leisure as a rejection of social mores. Seditionary by nature, criminal by necessity, the degenerate lifestyle of a post-postmodern libertine suited me fine, on the wrong side of capitalism I found myself a facilitator of indulgence, most artists need a job. Grinding, chopping, slinging, balling… I enjoyed the spoils of my transgressions, the illumination of my sins was glowing, but rock ‘n’ roll was killing my life. After a series of personal disasters, a brush with death brought me full circle to my present vocation as an addiction and mental health support worker. STAY POSITIVE serves as a milestone of that personal development, my life and work.
The conceptual products in this exhibition are part of the photo series INSPIRATIONAL LINES created with photographer Shawn McPherson. Motivational words and aphorisms are spelled out using white powder. It’s a cheap one-liner. INSPIRATIONAL LINES is informed by the trickle down gangster politics of survival by any means necessary into the milieu of white middle-class art poseur and examines a relationship with substances, choices and consequences, while simply acknowledging a life of excess with dry humour and a positive attitude. It’s ironically appropriate now with the artist and the gallerist both facing serious health issues due to indulgent lifestyles, Brown (multiple organ failure) and his host Simpson (Diabetes) look to the future with naïve optimism and face the ongoing struggle to STAY POSITIVE! Buy art not drugs
OCT 19 - DEC 1, 2019
OCT 19 - DEC 1, 2019
'Potluck Dynamo' studio studies byJohn Kissick.
'Potluck Dynamo' studio studies byJohn Kissick.
Opening reception, Saturday October 16th, noon till 6pmExhibition runs October 16th to December 1, 2019 Trained as a painter and writer, John Kissick has held numerous academic posts, including Chair of Critical Studies at Penn State University’s School of Visual Arts, Dean of the Faculty of Art at the Ontario College of Art & Design from 2000 to 2003, and for the last nine years, Director of the School of Fine Art and Music at the University of Guelph. Kissick’s exhibition record includes numerous solo exhibitions in Canada, the USA and Germany, and his work has been included in a number of important survey exhibitions and public collections. A mid-career survey entitled John Kissick: A Nervous Decade, curated by Crystal Mowry, toured Canada from 2010 to 2012 and was accompanied by a major publication. Kissick is also the author of Art: Context and Criticism (1992,) was editor of the Penn State Journal of Contemporary Criticism from 1990 to 1995 and has written numerous catalogue essays and articles for periodicals. Two recent essays: “Elephants in the Room” for Canadian Art Magazine and “Disco and the Death Switch: Tales from Contemporary Abstraction” for Border Crossings were nominated for National Magazine Awards in 2009 and 2010. John Kissick was elected to the Royal Canadian Academy for the Arts in 2005.
OUR CONCEPTION
OUR CONCEPTION
