Author: Bradley Ertaskiran

Preston Pavlis represented by Bradley Ertaskiran

Posted on by Bradley Ertaskiran

Bradley Ertaskiran is delighted to announce the representation of Preston Pavlis. His first solo exhibition, titled Still ready to curse and rage, will take place from June 23 to July 31, 2021, in the bunker space.

Preston Pavlis’ work on canvas and fabric represents his interest in the fusion of painting and textiles as a means to explore narrative, form and color. Focused on poetic association and metaphor, the resulting works in oil, embroidery, and collage are personal charts for time and memory. The works situate solitary figures on often non-descript grounds, their gazes shift between the viewer and somewhere beyond the space of the spectator. Whether their expressions are pensive, contemplative, ebullient, or intent – there is an interiority that is palpable. Pavlis’ figures convey a subtle energy and a deep sense of presence that is enhanced by their imposing scale.

Pavlis was born in Loma Linda, California, and currently lives and works in Edmonton, Alberta. He was Alberta’s regional winner of the BMO 1st Art Competition in 2019 and was recently shortlisted to the 2021 Eldon + Anne Foote Edmonton Visual Arts Prize. He has presented his work in group exhibitions at Bradley Ertaskiran, Montreal, at Half Gallery, NYC, and at the John & Maggie Mitchell Gallery, Edmonton. His work has also been included in recent art fair presentations including Frieze New York and NADA Miami.

To consult the artist’s profile, please click here.

Shaan Syed : an interview published in Border Crossings

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Border Crossings (Vol. 40, Issue 156) published an interview led by Robert Enright with Shaan Syed.

Your palette is quite intriguing. What determines your colour choices?

Colour is really important to me. I want the colour to point to something that you may not be expecting. I realized this a couple of years ago after a trip to Marrakesh. The whole city is painted this pale, dirty pink colour. I remember asking a cab driver why everything was painted that colour. I was expecting a deep historical answer. All I got was, “Oh, it’s Marrakesh; that’s the Marrakesh colour.” It made me think about colour being intrinsic to a place. Of course, upon further research you learn that the dirty pink came from the earth at some point, but now they just paint all the buildings this colour because it’s “Marrakesh pink.” It made me start thinking about colour in a very specific way: How can colour point to a different time, or a different place, or a period?

Extract from the interview with Robert Enright

To order a copy of Issue #156 of Border Crossings, please click here.

To download the PDF of the interview, please click here.

Stephanie Temma Hier represented by Bradley Ertaskiran

Posted on by Bradley Ertaskiran

Bradley Ertaskiran is delighted to announce the representation of Stephanie Temma Hier.

Stephanie Temma Hier’s work emerges at the intersection of oil painting and ceramic sculpture. She creates meticulous figurative paintings, many featuring scenes of fruit and other consumables which then nestle within hand-built ceramic sculptures. Working mostly from found imagery and scouring the internet for content, Hier fixes the ephemeral stream of fleeting digital imagery into slow, hand-wrought processes and earthly materials. Her paintings interact with their sculptural pairings to create new narratives both rich in the use of art historical references and feather-light by the means of pop-cultural ephemera. The vision put forward in her work reminds us that no image, context, or framework exists in a vacuum.

Stephanie Temma Hier (b. 1992, Toronto, Canada) lives and works in New York. She holds a BFA from the Ontario College of Art and Design University, Toronto, and studied at the Academy of Art Canada, Toronto. Recent solo exhibitions include Gallery Vacancy (Shanghai), David Dale (Glasgow), Franz Kaka (Toronto), Y2K Group (New York), Downs and Ross (New York), Neochrome Gallery (Turin). Recent group shows include Nino Meir Gallery (Los Angeles & Brussels), Arsenal Contemporary Art (New York), Fisher Parrish (Brooklyn), Three Four Three Four (Brooklyn), Galerie Antoine Ertaskiran (Montreal), Thierry Goldberg (New York), Galerie Plus One (Anvers), Anonymous Gallery (Mexico), Bureau (New York), The Kitchen (New York), Museo della Frutta (Turin), The Power Plant (Toronto), Art Gallery of Ontario (Toronto), and Johannes Vogt (New York). Hier was a finalist for the RBC Painting competition in 2016 and 2018 and is the recipient of multiple grants from the Canada Council for the Arts, the Elizabeth Greenshields Foundation, and has participated in residencies at Hospitalfield (Scotland) and Shandaken: Stormking (New York).

To consult the artist’s profile, please click here.

Erin Shirreff’s exhibition reviewed in The Boston Globe

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Published in The Boston Globe, Murray Whyte reviews Erin Shirreff’s exhibition Remainders, presented at the Clark Art Institute (Williamstown, MA, USA).

As a sculptor, Shirreff’s eye for texture and form expresses itself photographically as a near genetic-level understanding of how light can visuallytransform the sculptural manipulations of material. That’s been true her entire career. 

Murray Whyte, The Boston Globe, 2021

To read the article online, please click here, or you can download a PDF version here.

To consult the artist’s profile, please click here.

Dawit L. Petros, longlisted for the 2021 Scotiabank Photography Award

Posted on by Bradley Ertaskiran

The Scotiabank Photography Award recognizes the achievements of established mid-to-late career artists and in Canada’s largest and most prestigious annual peer-nominated and reviewed prize. The award celebrates the creative vision and accomplishments of some of the country’s most gifted contemporary lens-based artists.

To consult the profile of the artist, please click here.

To consult the website of the Scotiabank Photography Award, please click here.

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