Available Works

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short cuts (chest of drawers), 2007,
wood, 67.5 x 23.5 x 19.5 cm

Axel Lieber

Lieber, for whom traveling and commuting are an integral part of life, has repeatedly taken his attachment to everyday life and the objects that accompany him as the theme of his artistic work. In recent work he turns found, workaday furniture into compact, dense versions of themselves by cutting them apart and then refabricating, them using only the corners.



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short cuts (mirror), mirror, wood,
39.5 x 18 x 2.5 cm

Axel Lieber

Lieber, for whom traveling and commuting are an integral part of life, has repeatedly taken his attachment to everyday life and the objects that accompany him as the theme of his artistic work. In recent work he turns found, workaday furniture into compact, dense versions of themselves by cutting them apart and then refabricating, them using only the corners.



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A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.



mcmakin_jeff_mitchell_vase_2006_d2.jpg
A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.



mcmakin_jeff_mitchell_vase_2006_d3.jpg
A Jeff Mitchell Vase (detail), 2006, edition of 15,
6 Lambda type c-prints, 43 x 31.75 cm

Roy McMakin

Exploiting the tensions between art and design, form and function, McMakin’s practice places the usually separate creative activities of sculpture, architecture, design and in some cases photography in a tense equipoise. He disconnects the language of forms from its usual contexts, demonstrating how meaning can turn on a dime through subtle shifts in perception. Although initially comforting, the familiar forms found in his objects—many of which reference the vernacular furnishings in his childhood home—are full of sly mischief. Recently McMakin has produced photographs that pay homage not only to the act of seeing by dissecting the objects into a collage of sharply articulated visual moments, but to photography itself, which can freeze its vision frame by frame. The process used to move the camera across each object was intuitive rather than mathematical.



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Tall Stack, 2006, ink and marker on paper, 25 x 20 cm

Laura Vandenburgh

Laura Vandenburgh produces intimate, coloured pencil drawings of distant mountains, lakes, and islands. They reference computer blueprints, topographical maps and surveyed landscapes. In vibrant colours, her subjects float on the paper becoming illusionistic objects.

In my drawings I am wondering about places we consider ‘away’ and how they may be ‘near’ – away in the sense of distant, undefined, resistant, empty, overlooked, estranged, unknown, near as in close, alongside, inextricable, dear, contingent, imagined, fleeting. How is elsewhere here? Drawing is a kind of paying attention and a kind of fumbling.

— Laura Vandenburgh



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Island (underwater 2), 2006, ink and marker on paper, 19 x 25 cm

Laura Vandenburgh

Laura Vandenburgh produces intimate, coloured pencil drawings of distant mountains, lakes, and islands. They reference computer blueprints, topographical maps and surveyed landscapes. In vibrant colours, her subjects float on the paper becoming illusionistic objects.

In my drawings I am wondering about places we consider ‘away’ and how they may be ‘near’ – away in the sense of distant, undefined, resistant, empty, overlooked, estranged, unknown, near as in close, alongside, inextricable, dear, contingent, imagined, fleeting. How is elsewhere here? Drawing is a kind of paying attention and a kind of fumbling.

— Laura Vandenburgh



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Sagging Fence, 2006,
graphite, ink and marker on paper, 20 x 20 cm

Laura Vandenburgh

Laura Vandenburgh produces intimate, coloured pencil drawings of distant mountains, lakes, and islands. They reference computer blueprints, topographical maps and surveyed landscapes. In vibrant colours, her subjects float on the paper becoming illusionistic objects.

In my drawings I am wondering about places we consider ‘away’ and how they may be ‘near’ – away in the sense of distant, undefined, resistant, empty, overlooked, estranged, unknown, near as in close, alongside, inextricable, dear, contingent, imagined, fleeting. How is elsewhere here? Drawing is a kind of paying attention and a kind of fumbling.

— Laura Vandenburgh



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Lacunae (blue), 2006, ink and marker on paper, 12.5 x 12.5 cm

Laura Vandenburgh

Laura Vandenburgh produces intimate, coloured pencil drawings of distant mountains, lakes, and islands. They reference computer blueprints, topographical maps and surveyed landscapes. In vibrant colours, her subjects float on the paper becoming illusionistic objects.

In my drawings I am wondering about places we consider ‘away’ and how they may be ‘near’ – away in the sense of distant, undefined, resistant, empty, overlooked, estranged, unknown, near as in close, alongside, inextricable, dear, contingent, imagined, fleeting. How is elsewhere here? Drawing is a kind of paying attention and a kind of fumbling.

— Laura Vandenburgh



vandenburgh_lacunae_2_2005.jpg
Lacunae (2), 2005, ink and marker on paper, 11.5 x 11.5 cm

Laura Vandenburgh

Laura Vandenburgh produces intimate, coloured pencil drawings of distant mountains, lakes, and islands. They reference computer blueprints, topographical maps and surveyed landscapes. In vibrant colours, her subjects float on the paper becoming illusionistic objects.

In my drawings I am wondering about places we consider ‘away’ and how they may be ‘near’ – away in the sense of distant, undefined, resistant, empty, overlooked, estranged, unknown, near as in close, alongside, inextricable, dear, contingent, imagined, fleeting. How is elsewhere here? Drawing is a kind of paying attention and a kind of fumbling.

— Laura Vandenburgh



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Prometheus Rebound, 2005–08,
mixed media on paper, installation view

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



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Prometheus Rebound (detail), 2005–08, 1 of 4,
mixed media on paper, 208 x 113.5 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



walker_prometheus_rebound_2005_08_d2.jpg
Prometheus Rebound (detail), 2005–08, 2 of 4,
mixed media on paper, 208 x 113.5 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



walker_prometheus_rebound_2005_08_d3.jpg
Prometheus Rebound (detail), 2005–08, 3 of 4,
mixed media on paper, 208 x 113.5 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



walker_prometheus_rebound_2005_08_d4.jpg
Prometheus Rebound (detail), 2005–08, 4 of 4,
mixed media on paper, 113.5 x 208 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



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Pyx, 1995, enamelled and patinated bronze,
Pyrex crucible, clay in liquid, wick, lamp oil,
flame (with marble and oak base),
121 x 35.5 x 35.5 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



walker_pyx_1995_d1.jpg
Pyx (detail), 1995, enamelled and patinated bronze, Pyrex crucible, clay in liquid, wick, lamp oil, flame (with marble and oak base),
18 x 9 x 14 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.



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Seeing Blue, 1993–94,
watercolour, pencil and pencil crayon or conté,
54 x 74 cm

Laurie Walker

Laurie Walker (1962–2011) was a Montréal-based artist with an ambitious art practice. She was a respected member of the Québec art community, having exhibited her large-scale sculptures and multimedia works in various locations across Canada. Walker’s work held a high degree of fabrication, and was deliberately made from materials that carried weighty symbolic charges that echoed her deep interest in the natural sciences, ancient mythology, and environmental concerns.