Canadian Art

See It

Sandra Meigs: Eccentric Consistencies

Susan Hobbs Gallery, Toronto Feb 4 to Mar 20 2010
Sandra Meigs  <I>Hey Yo</I>  2009  /  photo Toni Hafkenscheid Sandra Meigs Hey Yo 2009 / photo Toni Hafkenscheid

Sandra Meigs <I>Hey Yo</I> 2009 / photo Toni Hafkenscheid

For more than 25 years, Sandra Meigs has won accolades for her unusual—and often quite canny—artmaking practice. Meigs’ 2009 exhibition at the Carleton University Art Gallery in Ottawa, titled “Strange Loop,” was an exemplar of that tradition, offering large, grey-hued canvases in which both urban architectures and mystical faces seemed at once hidden and exposed. While the palette and scale of the “Strange Loop” works contrasted with her previous, more primary-coloured Bump and Ride series, the thread of optical play and figurative ambiguity in Meigs’ art has remained relatively constant. This special, Meigs-ian type of eccentric consistency—varying appearances, though not their essential devices and themes—would seem to continue in the artist’s newest work, now on view at Susan Hobbs Gallery in Toronto. In this artwork, The Fold Heads, eight portrait-size paintings are accompanied by a projected text, while erstwhile appendages of fabric scraps promise to enhance both the tendency to abstraction and to clownish caricature. As always, a Meigs show merits serious consideration, even as it alludes to flights of formalist fancy. (137 Tecumseth St, Toronto ON)

This article was first published online on February 11, 2010.

RELATED STORIES

  • feelers: Touching a Nerve, or Three

    New Yorker Arlene Shechet is a highlight of the group show “feelers” this summer at Susan Hobbs Gallery. Organized by Toronto artist Jen Hutton and aimed at tactility and its manifestations, the show promises plenty of feelings to get hooked on.

  • Ian Carr-Harris: Paradigm Shift

    Ian Carr-Harris’ newest scale models forsake temples of art, like Tate Modern, for temples of religion, like a modest rural church. Yet his results continue to find the edges of power in simple things, exploring the politics of objects.

  • New Beginnings: Good Vibrations

    Hope, optimism, truth, progress: These are just a few of the buzzwords floating around recent politics south of the border. Now Susan Hobbs Gallery circles around similar issues in the group show “New Beginnings."

 

FOUNDATION NEWS

[an error occurred while processing this directive]

ONLINE

  • Janet Cardiff and George Bures Miller: Black Birds

    New York critic Joseph R. Wolin heads to the Park Avenue Armory where Janet Cardiff and George Bures Miller are creating a buzz (and other sounds) at the US premiere of a dark, nightmarish installation originally created for the 2008 Biennale of Sydney.

  • Grange Prize 2012: Hot Shots

    One of Canada’s largest cash-value art prizes—$65,000 in total with $50,000 going to the winner, $5,000 to three runners-up—announced its finalists this week. Take in their wide-ranging works in this slideshow.

  • Wanda Koop: Into the Woods

    A visit to Wanda Koop’s cabin near Riding Mountain National Park in southern Manitoba proves intriguing for Vancouver critic Robin Laurence. There, Laurence writes, Koop bridges old Grey Owl myths with a new series of paintings on our increasingly digital culture.

  • Brad Tinmouth: Survival Strategies

    The basement of an art gallery may seem an unlikely place to create an emergency shelter. However, Xpace's lower gallery is an ideal setting for Brad Tinmouth's “If Times Get Tough or Even If They Don't,” which evokes a cold-war bunker.

  • Wim Delvoye: Blame it on Paris

    Silk-covered pigs, lattice-cut car tires and a tattooed man are just a few of the works that Belgian artist Wim Delvoye has shuttled into the old, Gothic wing of the Louvre this summer. Jill Glessing reviews, finding a terrific amalgam of high and low.

More Online

Report a problem