Kristine Erglis, artist, illustrator, feminist ... more
Kristine Erglis, artist, illustrator, feminist. In 1994, Kristine Erglis started making art at our studios. We are showing her art from the past and some of her current work. Kristine will not be present for the exhibition. She moved from Toronto to Nova Scotia many years ago in order to seek a gentler, quieter life. Kristine puts into images, things that most of us are afraid to say or express including how the media has made women feel about their bodies. New, Surgically Removed Hips was shown in Images of Women 1994 in an exhibition celebrating the many aspects and images of women. That exhibition taught both the artist, Kristine and the curator, Ellen Anderson, the difference in perception between men and women. A well-known male artist looked at the image of Surgically Removed Hips and declared his sister had had that operation. "No!" Kristine proclaimed. "It isn't about a medical procedure. It's about how women are made to feel about their bodies!" The male artist insisted that his sister had indeed had the surgery. Ellen and Kristine looked at each other, realizing that the fellow didn't understand the point of the painting. Women who came to view the image, understood immediately and would say, "Yes, I've been made to feel that way". Men ignored the work and quietly walked past it without a word. Kristine conjures up colourful dreams, joyous leaping lizards, anger, coy angels, a frustrated receptionist; all illicit immediate recognition. Some of the works use humour, and the play of vibrant colours of inks and watercolours are sometimes laced with words. Other works speak for themselves without any words.
Rino Noto / Wave. The Italian Cultural Institute is pleased to present a solo exhibition of artist Rino Noto's Wave. In this highly anticipated new series of expected portraits, Wave, Noto contemplates the ebb and flow of candid human activity. But Wave's dozen images do more than merely document the flux of life. Noto delves into the absurd, abstracting these intimate scenes and pulling them out of conventional time and space. These visual peaks and troughs inherent to Noto's imagery – that stark contrast between light and shadow, those jarring hues, the unexpectedly bold forms and rippling landscapes – seem to echo the scenes' conceptual content. In Wave, we catch a brief, truncated glimpse of life's cycles: joy, resilience, purposeful absurdity, all presented in one interconnected package. Like a Warhol silkscreen or a snapshot of daily living broken down by the pointillism of Seurat, it's not a simple photo we see, but an image transformed – just like Noto's many subjects.