The Drawers - Headbones Gallery             Contemporary Drawing, Sculpture and Works on Paper

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RIGHTSIDE UP
 
Headbones Gallery
September 16 - October 16
 
Landon Mackenzie eCatalogue
 
Landon Mackenzie & Paul Mathieu
 
Paul Mathieu eCatalogue
 
 
 
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Headbones Gallery
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Drawers Gallery
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Landon Mackenzie & Paul Mathieu - RIGHTSIDE UP

September 16 - October 16, 2016 

Rightside Up; Landon Mackenzie and Paul Mathieu is a collaborative exhibition.
Rightside Up reinforces the scope made possible when two artists with evident mutual affection and respect for the otherís works exhibit in tandem while in turn their works inspire others.  Informed and confident, each artist maintains a mature practice that can helps us to override the cacophony of modern dissonance.

Landon Mackenzie, recipient of the inaugural Ian Wallace Award for Excellence in Teaching in 2009, teaches at Emily Carr University of Art + Design in Vancouver and is no stranger to the Okanagan. Her exhibition Parallel Journey: Works on Paper (1975 Ė 2015), curated by art historian Liz Wylie showed at the Kelowna Art Gallery in 2016.

 

Of the six paintings and eleven paper works in the Headbones Gallery exhibition, Mackenzie refers to her works on paper as a parallel practice to the production of her large works in painting that she is critically recognized for. Her accomplishments are formidable and her works can be seen in significant national museum, embassy and corporate collections.

 

Paul Mathieu is also an international presence in the art world, recognised for his work in ceramics. He too teaches at Emily Carr University of Art + Design in Vancouver where he has led cutting edge research into new possibilities with ceramics and has published extensively.

 

Headbones Gallery is exhibiting twelve of his Kiss Bowls, works made in Jingdezhen China where all of the services that carry an idea through to a physical end were at his disposal and backed by over a thousand years of perfecting porcelain. The history of Jingdezhen and porcelain was as dramatic as the gold rush for making porcelain was an art guarded by the Chinese and bartered as world trade expanded. In The Kiss Bowls Paul Mathieu shows that there is more connectivity than protection in contemporary art practices.

 

Rightside Up reinforces the scope made possible when two artists with evident mutual affection and respect for the otherís works exhibit in tandem while in turn their works inspire others.  Informed and confident, each artist maintains a mature practice that can helps us to override the cacophony of modern dissonance.