OPENING: Friday, December 19 2014, 5pm-9pm
This exhibition defies boundaries between the developed world and emerging economies, and uniquely portrays industrial and organic landscapes in the socially and politically diverse areas we inhabit.
HEDGE Gallery welcomes Canadian artists Catherine Beaudette and Christopher Kier, along with local HEDGE Gallery Director and Founder, Hilary Gent. This exhibition features a truly inspiring group of work by artists focusing on the immersion of contrasting spaces. The areas we live in; the landscapes we see; the buildings we construct, all are shown in a distinct format displaying the beauty of the places we inhabit.
In Catherine Beaudette’s work, Global Cities, her paintings map the social and political spaces we occupy. These composite cities arise from buildings and places she has traveled. Global Cities are like ecologies interlinked in survival. States Beaudette, “This work investigates issues of globalization, development, homogeneity and disparateness. The juxtaposition of cultures with habitat and redevelopment with historical buildings suggests an amalgam of place, space and time.”
Hilary Gent is immersed in representing industrial and organic landscapes becoming one entity. The incentive to paint these areas emerges from her interest in the play of light and color on mundane architecture and scenery. Using a combination of direct mark making and impressionistic brush strokes to highlight the contrasting elements that exist in one landscape, vivid color represents the energy displayed in her paintings.
Says Gent, “The architecture of industrial areas has been a common subject matter, but recently I have realized the beauty of the natural landscape taking back its claim on decrepit buildings and houses. Through observation and analysis, I have begun to recognize nature and abandoned man-made structures as equal environments, both struggling for existence.”
In Christopher Kier’s body of work, Camouflage, he explores architectural iconography working predominantly in encaustic (wax) and mixed media on canvas and mylar. Intricate detailing from 19th and early 20th century buildings and monuments as well as imagery and design lines of mid 20th century dwellings are utilized along with more primitive universal representations of refuge.
Kier states, “Juxtapositions of these computer manipulated ‘remnants’ with clean, enveloping linear housings create a dialogue which ponders the facade of architecture and its human connection.”