March 19 to May 2, 2026
Vernissage: Thursday, March 19, 5PM to 8PM<\/p>\n\n\n\n
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Bradley Ertaskiran is pleased to present Champs de fracture, <\/em>showcasing the work of Marie-Michelle Deschamps, Dawit L. Petros, Jeremy Shaw, Erin Shirreff, and Shaan Syed. Across painting, mixed-media, and photography, the exhibition brings together practices and images that slice, scar, and segment, using dissection and division, materially or conceptually, to explore instability and perception.<\/p>\n\n\n\n Shaan Syed\u2019s monumental two-toned painting Double Minaret (with Sewn Steps) 1 <\/em>(2018) centres on the stepped (and split) motif of the minaret, a recurring symbol in the artist\u2019s practice that nods to his upbringing and illustrates his ongoing preoccupation with uniting disparate halves. The painting\u2019s textured surface is the result of a sort of reverse excavation process, in which material is built up then scraped away, revealing the dried layers beneath. There is a palpable tension throughout the composition, as the minaret\u2019s diagonal forms are interrupted by a great scar or divide, the result of a jigsawed canvas sewn together again.<\/p>\n\n\n\n If Syed\u2019s work emphasizes demarcation, then Dawit L. Petros\u2019 work showcases its futility, specifically in relation to border-making. Petros\u2019 Demarcation <\/em>photographic series (2011) is rooted in regions torn by disputes over water and land, specifically the Eritrea-Ethiopian war (1961\u20131992) and the Mauritania-Senegal war (1989\u20131991). A shallow mark is drawn to precariously delineate sand and sea, only to be erased by encroaching waves. As in his larger practice, Petros\u2019 triptych probes the volatile and unresolved nature of boundaries, which are perpetually eroded and redrawn by political conflict and human movement.<\/p>\n\n\n\n Marie-Michelle Deschamps\u2019 wall-mounted sculpture Silhouettes (bis) <\/em>(2025), made of vitreous enamel, also carries topographic qualities. Precarious cuts throughout an otherwise solid surface read like delicate linework, akin to a map or an inscribed tablet. The elegance of the sliced relief, whose edges fall gently like petals or torn paper, defy the robustness of the material plane and hardware. Despite the industrial methods in which Deschamps\u2019 works are produced, the artist\u2019s hand remains, retaining the soft gestures from an otherwise mechanical process.<\/p>\n\n\n\n Striking and vaguely menacing close-ups of rudimentary knife-like objects comprise Erin Shirreff\u2019s Knife <\/em>series (2008), testament to the artist\u2019s ongoing mining of sculpture and its photographic representation. Initially hand-sculpted by the artist in modelling clay at small scale, the objects run at odds with their imposing photographic presence. Isolated against monochrome backdrops, the forms are stripped of context; what remains are their gouged, hand-worked surfaces, both rough and smooth, their evocative qualities prioritized over their utilitarian function. The images underscore the slippage between object and image, between representation and its history, for which Shirreff\u2019s practice is known.<\/p>\n\n\n\n Jeremy Shaw\u2019s Unseen Potential<\/em> series (2021) result from experiments using Kirlian photography that attempt to expose the hidden energies of plants with psychotropic properties. Working in complete darkness, the artist places plant life directly onto unexposed Polaroid film mounted on the copper plate of a Kirlian camera, igniting a high-voltage charge that registers the subject\u2019s coronal discharge, or plasma glow. The resulting images, showing a multicoloured nucleus against pure blackness, act as a kind of energetic cross-section, rendering visible a force typically imperceptible to the eye. Here, cutting is enacted not through physical incision, but through exposure: a slicing open of the image to reveal life, energy, and the otherwise unseen.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" March 19 to May 2, 2026Vernissage: Thursday, March 19, 5PM to 8PM Marie-Michelle DeschampsDawit L. PetrosJeremy ShawErin ShirreffShaan Syed Bradley Ertaskiran is pleased to present Champs de fracture, showcasing the work of Marie-Michelle Deschamps, Dawit L. Petros, Jeremy Shaw, Erin Shirreff, and Shaan Syed. Across painting, mixed-media, and photography, the exhibition brings together practices and […]<\/p>\n","protected":false},"featured_media":21642,"menu_order":0,"template":"","meta":{"_acf_changed":true,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[150],"tags":[248,250,247,251],"artists":[],"year_":[240],"tags_a_venir":[],"class_list":["post-21524","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry","category-group-exhibition","tag-dawit-l-petros","tag-erin-shirreff","tag-marie-michelle-deschamps","tag-shaan-syed","year_-240"],"acf":[],"yoast_head":"\n