THE PROJECT GALLERY:
Quest Art School + Gallery is accepting submissions from emerging artists who would like to take their practice to the next level. The Project Gallery acts as an “arts incubator,” focusing on professional development of individual artists by providing mentorship and curatorial feedback. Our principal objective is to offer artists the opportunity to create work and to learn all that is involved in the process of creating an art exhibition – from conception to realization – that challenges them and provides exposure to new practices. In this way, The Project Gallery provides a catalyst for the creation of art by providing technical support, critical feedback and curatorial direction.
Participants in The Project Gallery exhibitions will document the process undertaken. Sketches, works in progress etc will be included in the final exhibition. This will allow the viewers to gain insight and understanding of the artist’s practice and of the many stages of development that take place within the art-making process.
The artist will learn about installation of works, creation of an artist statement and other enhanced learning experiences, with a focus on mentorship and professional development. Selected artists will be invited to use Quest Art to meet with their peers and throughout the program, Quest Art will invite established local artists for 3 mentorship sessions, in which the emerging artist can network and receive constructive feedback on their artistic practice and exhibition goals.
Please send submission inquiries to:
PROJECT GALLERY EXHIBITIONS 2019
Retooled: New Assemblages by Justin Cosman and David A. Hill
continues until March 30th, 2019
Reclaiming the discarded, Justin Cosman and David A. Hill, reexamine refuse and the forgotten for their aesthetics and form. Primarily working with metal, established photographer and sculptor Hill ensures whimsy is part of his additive process, with old buttons, knobs and levers rearranged to arrive at abstract figurations in the overall composition. Emerging artist Cosman keeps to the non-objective, exploring space, shape, colour and texture through waste often associated with construction and packaging. Remnants of plywood, cardboard, and sprayfoam become his muse.Reclaiming the discarded, Justin Cosman and David A. Hill, reexamine refuse and the forgotten for their aesthetics and form. Primarily working with metal, established photographer and sculptor Hill ensures whimsy is part of his additive process, with old buttons, knobs and levers rearranged to arrive at abstract figurations in the overall composition. Emerging artist Cosman keeps to the non-objective, exploring space, shape, colour and texture through waste often associated with construction and packaging. Remnants of plywood, cardboard, and sprayfoam become his muse.
Under Wing: Ruth Ann Pearce and Melissa Wakefield
April 6th to June 24th 2019
Just in time for spring, this two person exhibition celebrates the role of illustration in the study of wildlife dating back to the 1500’s when art was science. Depicting birds in flight, perched and mid-strut, Pearce and Wakefield honour the majesty and postures of different birds through their intense attention to detail and bold use of colour amidst their dynamic compositions. The care in which their subject matter is rendered speaks to the care to be taken in protecting and nurturing our feathered friends and the habitats they live in.
A Sense of Place: Marianne Braid
August 24th to October 26th 2019
Using her endless palette of colour to capture the energy and light of Georgian Bay, Marianne Braid employs careful observation to translate the intricate details of her surroundings onto canvas. Starting from her large collection of photographs, Braid’s choice to paint more “natural” environments is her way of illustrating humanity’s connection to the resources of land, water and air that sustains us. Her meditative approach to rendering the enduring and yet fragile subject matter, reflects her mindfulness of the larger ecological systems we are a part of.
Environment as Nature: Stefanie Gogan
November 2nd 2019 to January 11th 2020
Stefanie Gogan depicts the regulated climates of greenhouses on canvas. Large in scale, almost taking on the structures of glass houses themselves, the paintings turn the outside inside out to visualize how built environments are becoming the natural settings of tomorrow and providing sustenance where produce won’t grow.
UPCOMING EXHIBITIONS 2020
Unbounded Detours and Other Curiosities
January 18th to April 11th
Peter Fyfe - Artist’s Statement, 2019
I don’t want to explain too much about any cohesive meaning stemming from the disparate elements I am putting together from seemingly hoarded objects and images. Unlike a single painting that for me is just a continuation (or to some extent a departure) of what I have done immediately before, I have delved here into the contrast between safe paths of creativity, and the unbounded detours that result from pursuing more vague and fleeting notions of a roadmap of what is meaningful to me. Themes like childhood memory, place and journey, and relationships with others are made visible to me, like a sparkling lake viewed through a screen of trees. Images, like the one I came across while reading Thomas King’s book, “A Short History of Indians In Canada” evoke jumping-off points for me;
“The sky above the car is alive with ravens and gulls”.
By exploring such a contrast, for example between man tethered within frames and nature bounded by ideals of freedom, I have driven myself to nail down a fundamental question - What can I say about “our” land and water; the “property” that descendants of colonialists and immigrants have held up high as an ideal. Such an ideal, so far from ideal. The effect
“we” Canadians have had on the Indigenous people of this land, on the environment, on our shared collective spirit has tended to undermine our declarations of love for land, water, and the trails and destinations that we fix in our minds as fit for leisurely discovery. In placing importance on property, have not “we” contributed to the maintenance of a lifestyle that plunders and inhibits the prosperity of a whole other culture?
In all this, I have taken a cue from other artists and their perspectives as conduits to achieving meaning in “our” culture. I playfully reference the many tendencies of modernism, from Surrealism to Minimalism, from Pop to the cottage industries of Decorative Arts and Design, all to further provide contrast for my exploration of ‘reconciliation’.
And so, that is how I have pursued this collection and display of objects, artifacts, and assembled images that represent flashes of memories accumulated to this point in my life. Making it all cohesive is a puzzle I am constantly on guard to solve; what fits in the museum of my journey, immersed as it is in the past, but shaped by concern for the future. One quandry
I leave for the viewer to puzzle over is this - Why is nostalgia for the outdoors so important to how we spend our summers? And how did that nostalgia ever end up being housed in cottages that have all the comforts of downtown?
The Night's Breath Responds to the Sea
April 18th to June 30th
At night when we dream we enter into another state of being. Our unconscious is open and free to explore, to wander and to take us where it will. No one quite understands why we dream. Although there are many theories - almost as many as there are dreams themselves. While science tries to understand the stuff dreams are made of, humans, from cultures all over the world, continue to believe that dreams contain important hidden truths. The artists in this exhibition will be mapping out dreams, the unconscious, and what we can learn from it and be inspired by.
September 5th to October 9th - opening is on Saturday September 12th
Details to come
Here There Be Monsters
October 17th 2020 to January 9th 2021
"Here There Be Monsters" (or dragons) was inscribed on maps meaning that that area represented dangerous or unexplored territories. Often it would be accompanied by drawings of dragons, sea monsters and other mythological creatures. How much are we frightened of the unknown? Why does the unknown cause such initial dis-ease and apprehension in people? And what of the fact that we have effectively "mapped out" the world where there are no longer so many unknowns geographically - but many unknowns when we think about the evolution of society and the world we live in. Maybe, we need to create new maps - and thus change the world we live in for the better. The artists involved in Here There Be Monsters will be creating work that explores these themes and ideas.