THE SOCIETY
The Society for the Art of Imagination is a global organization dedicated to a style of art that has gone by many names over the years. Whether you call it “Fantastic Art”, fantasy art, spiritual art, or surrealism, what most of the works have in common is a vital engagement with the imagination of the viewer. This engagement goes far beyond the decorative, often to a point that approaches dramatic – or even narrative – levels. Depending on your point of view, this can be either a strength or a weakness. For instance, most dentists probably wouldn’t purchase a mural-sized painting of an Apocalyptic mushroom cloud for their waiting room. So it does pose some challenges, both to the artists, as well as to the galleries who would like to showcase their work.
Hence the need for a support group like the
Society for Art of Imagination, which “promotes imaginative and spiritually based art that transcends the ordinary, to help bring like-minded artists together in shared exhibitions and create opportunities for Canadian artists at home and abroad”.
INSCAPE is the society’s bi-annual, glossy full-color magazine. The first Society was created in the UK in 1961 by
Brigid Marlin, a protégé of
Ernst Fuchs. There are now branches in the USA, Japan, Africa and, as of 2014, right here in
Canada, thanks in large part to the efforts artists
Jean Pronovost,
Russ Paquette, and the aforementioned
Marina Malvada and
Bhat Boy, who is himself a protégé of Brigid Marlin.
For anyone reading this who doesn't live in or near Toronto, fear not! There are three upcoming exhibitions in Ottawa in September 2014, and one at the
Ecomuseum in Montreal in October 2015, with more shows in the works. And considering the almost uniformly excellent quality of the pieces on display at Moniker’s Art for Peace exhibit, one couldn't help but be filled with optimism about the near-term future of Fantastic Art in Canada and, indeed, globally. It really did feel as though we were witnessing the launch of an artistic movement whose moment has arrived.
THE SPACE
Just northwest of the busy, bustling intersection of Spadina and Richmond in Toronto’s historic Fashion District,
Moniker Gallery provided the Society’s 50-plus artists with a gorgeous, wide-open space in which to showcase their work.
There’s also something to be said for the gallery’s ease of access. Four steps up from the sidewalk, through the front doors and
BAM, you were immediately surrounded by incredible art. Simultaneously intimate and expansive, it really is an ideal gallery experience, both for the artists and for the viewing public. Moniker also generously provided ample, strategically-located seating for those (like me) who have trouble standing for long periods of time.
I didn't partake of the wine, so I can’t comment on it other than to say everybody seemed satisfied by the choices on hand. Toronto's own
Sunshine Pantry generously donated handmade regular and vegan cheeses to nosh on. But nothing could distract from the visual banquet on display, accompanied by aural enhancements courtesy of
DJ Nicodemus the EvilRoBo, who filled the air with ominous, pulsating, binaural throbs, punctuated with the occasional square-wave “skwawk”. He did a great job, and I’m sure the inspiration provided by REX, the giant, metallic man who lurched menacingly over his booth didn't hurt things, either.
The great turnout had the artists and organizers in a happy, gabby mood, and all artists present were happy to discuss their work.
THE ARTISTS
I’d like to start by pointing out that there is no way that I’ll be able to do justice to all the wonderful artists who had work on display at this exhibit. There were dozens of artists displaying well over a hundred pieces, and I only had a few hours to take everything in. With a few exceptions, I will be concentrating on those artists with whom I was able to converse during the show. Also, I will admit up front that there are certain subjects that attract me more than others. For instance, art that deals with occult themes. Therefore, the exclusion of any artist from this article should NOT be taken as a slight against their work.
I. THE BIG GUNS
Part of the exhibit included prints by three of the Society’s honorary members: the aforementioned
Brigid Marlin, metaphysical artist
Alex Grey, and the Swiss surrealist
H.R. Giger, whose recent passing was commemorated by a small black table placed in front of his only piece at the show: an untitled signed, limited edition print. A nice touch.
II. TICK TOCK TOM
Ottawa-based artist
Tick Tock Tom had three impressive pieces on display. The previously mentioned “REX”, who loomed over the DJ booth, is an impressive and weighty beast. But it was his moving pieces – the mechano-tantric “Lungs” and “Bleeding Heart”, with its gushing crimson fluids – that were garnering the most attention. Humble and smiling, Tick Tock Tom confessed that it was “great to get out of the basement” and witness the powerful effect his mechanical creations were having on the crowd. He also described how the auditory element of “Lungs” became an important part of the piece almost by accident, or "organically"... which is mighty paradoxical when you think about it. Personally, I was struck by the yoga-like nature of his heavy metal breathing machine. It was emblematic of the very labor of life. You can see more of Tick Tock Tom’s work at
his website.
III. VALERIYA KHOMAR
Of all the work on display at this show, the paintings of Montreal based, Ukrainian born artist
Valeriya Khomar were perhaps the most unselfconsciously decorative. There is, of course, no shame in this. With light-dappled swaths of folding, tactile shapes, her work reminded me of an otherworldly
Georgia O’Keeffe, and it functioned nicely as an aesthetic palate-cleanser of sorts; a pleasant and welcome respite from the heady, dramatic excesses of neighboring pieces. Valeriya shared a number of amusing anecdotes about her inspiration with me, but I was most struck by her statement that, in her 2013 work “Awakening”, she had sought “to compress Five-D into Two-D.” Find out more about Valeriya’s work at
her website.
IV. DAEVE FELLOWES
Local Toronto artist
dAeve Fellowes calls his incredible 3D paintings “Biomorphs”, and they include disturbing elements and such diverse textures as eyes, tongues and real human hair. Some of his pieces look like something an adventurous gastronome might serve for dinner, if he was hosting guests from another planet, another dimension, or one of the lower rings of Hell. For my own tastes, dAeve’s works were among the strongest of the entire show, and I urge you to find out more about his work at
his website.
V. DAVID DAVIDSON
Another artist whose work, for me, vibrates with a particularly powerful intensity, is
David Davidson. Although he only had three relatively small pieces on display at this show, they generated a great deal of interest, and it’s easy to see why. I've been following Davidson’s work for the better part of two decades now, and in that time I've watched him grow from a technically proficient if occasionally derivative draftsman into one of the most unique and intriguing visionaries working in Fantastic Art today. You can see more of his work at
his website.
VI. STU EDWARDS
Perhaps one of the most difficult things for an artist to do with a piece of static art - as opposed to film, theater or music - is to evoke fear or dread. With both his statue “Niflheim” and his beautifully-mounted painting “Anathema”,
Stu Edwards managed to evoke those emotions in me. That’s why it came as no surprise to me when Stu revealed one of his primary inspirations to be Poland’s premiere Apocalyptic visualization specialist,
Zdzislaw Beksinski. Explore more of Stu’s provocative, disturbing work at
his Facebook page, or check out his
Canadian Alternative Arts Collective.
VII. ELVIRA RAJEK
From morbid, dark and sinister, we come full circle to the cheeky, fun and playful creations of Austrian artist
Elvira Rajek… or do we? Because, while her candy-colored weapons are delightful to behold, isn't there something more than a little bit sinister to the stories they tell? Even in her ongoing project, “What to do with These Old Shoes”, Elvira manages to effortlessly fuse danger, beauty and violence, and in so doing suggests the existence of a secret, coded fascist language hidden in the heart of High Fashion. Especially impressive is how Elvira was able to combine bullet casings and demolished revolver parts to create a gleaming, metallic high-heeled shoe. From my brief discussion with her about her work, I can also report that Ms Rajek is one hell of a wit. Find out more about her art at her
Saatchi Art profile page, where you’ll find her indulging her dark side quite nicely, thank you very much.
VIII. JEAN PRONOVOST
I doubt anyone’s feelings will be hurt if I state the obvious and declare that Montreal-based artist
Jean Pronovost’s “Sphinx” served as an unofficial centerpiece for – and was a widely-acknowledged highlight of – the entire Art for Peace exhibition. The idea for his “Sphinx” first came to Pronovost during a visit to Europe, where he kept coming across Sphinx statues everywhere he went. Sensing a cosmic message, he set about creating a Sphinx of his own… only
his Sphinx was a protector of the people. That's why she's crouching atop "the personification of an unjustly empowered greed and corruption” who, in attempting to answer the eternal riddle, can only vomit up fistfuls of currency. By the way, Pronovost wants everyone to know that any resemblance between his sculpture and our own fair city’s trouble-plagued Mayor is purely coincidental. The Sphinx has a presence that is difficult to describe and even harder to shake, but one thing is certain; it heralds the arrival of a huge and important new talent on the Canadian art scene, and I, for one, can’t wait to see what else Pronovost has in store for us. Keep your eyes on
his personal website for updates.
Also, admirers of dark, Lovecraftian horror should do themselves a favor by checking out the website of Provonost’s friend, partner, and fellow Montrealer,
Syl Disjonk, an extremely talented video artist in his own right.
AND THE REST…
A few other works that piqued my interest were
Lia Fail’s Warholesque canvas entitled “Joseph Campbell’s Follow your Bliss Soup”, the enigmatic
Rosmarinus Stehlik’s “Snake Priestess”, and
Miguel Tio’s “Dreaming in Montana”, a wonderful piece that would look magnificent in an oak-paneled room with decadent velvet décor. Show organizer
Bhat Boy’s “Orbit of a Golden Age (aka Toronto Fish)” was quite beautiful, as well.
Chris Thomas’s Tarot-inspired tableaux featuring lone Templars dwarfed by iconic fantasy locales were very intriguing, as were
Clara Blackwood’s ephemeral series of bird portraits. Fantastic without falling prey to whimsy, “Winter Owl” was particularly beautiful.
Nadezna Illan’s elephant portraits were well done, and
Lina Faroussi’s unnerving tableaux teem with paranoid faces
Steve Ohlrich’s beautifully realized fantasias and
Gaia Orion’s politically progressive pieces both featured a commanding hand and enviable graphic clarity.
France Garrido’s mosaic-like “Persephone and Demeter” was impressive, as were
Russ Paquette’s sparkling “Process of Becoming” and “In Search of the Yellow Brick Road”. The pieces “Man or Mouse” and “Breath” both featured magnificent realism on a large scale… though unfortunately, I lost the artist’s name.
Finally, I was tickled by the number of people who were using their SmartPhones to take snapshots of show organizer
Marina Malvada’s wickedly funny panorama, which itself portrays a group of people photographing an apocalyptic mushroom cloud with their SmartPhones.
CONCLUSION
It was obvious to everyone present that the Art for Peace event has the potential to be a springboard for even bigger, better things in the very near future. I’ve never seen so many happy, smiling, downright contented people at a gallery show. The atmosphere was electric with positive vibes. Goths mingled freely with rocker dudes and heavily muscled artists whose media include engine blocks and human blood. People decades apart in age gabbed away contentedly with each other while artists mingled and kibitzed with one and all, regardless of whether or not you looked like the kind of person who was likely to drop five grand on a piece of original artwork. It was a wonderful night, and I think the Canadian arts community has been waiting for something like this for a long, long time. Now that it has, it’s time for everyone to gather their wits, assemble their tools…and get to work!
