Since opening Likely General Gallery in the back of the shop in late 2013, we've had 30+ artists and vendors utilize the space. The gallery presents new work once a month and openings are typically the first Thursday of every month. We strive to be an open and inclusive space for up-and-coming artists to experiment with solo or collaborative shows. The gallery is fully booked until September 2017, but please don't hesitate to contact us with a proposal.
C U R R E N T E X H I B I T I O N
B R I C - A - B R A C | C H R I S F O S T E R
'Bric-a-Brac' is an exhibition of screen printed work by Chris Foster. The show is a collection of prints that explore still life compositions, themes and imagery. The prints are inspired by the knicknack, whatnot, doohickey, tchotchke, doodad, gaud, gewgaw, gimcrack, kickshaw, trinket, nugget and bits and bobs; the sentimental collections that clutter our domestic spaces. The prints celebrate these collections while questioning their status as commodity, tribal symbol and fetish object.
Much of the work was produced last summer during a six week thematic residency at the Banff Centre called 'Still Alive' which explored the genre of still life. 'Bric-a-brac' is the first exhibition of this this work in Toronto.
Opening reception: Thursday, June 8, 6-9pm
Exhibition runs June 8-30
Chris Foster is a multidisciplinary visual artist, designer and carpenter currently based in Toronto. He graduated with an interdisciplinary BFA from the Nova Scotia College of Art (NSCAD) in 2008. His artwork investigates issues around material culture, the built environment and spaces in transition. His work often employs a dark sense of humour to challenge popular notions of progress in contemporary culture. His creative process is motivated by production-based projects, multiples and editions. He has exhibited in Canada nationally from St. John's Newfoundland to Dawson City Yukon and can be found in the private and public collections across the country.
P A S T E X H I B I T I O N S
“The only thing that makes life possible is permanent, intolerable uncertainty: not knowing what comes next.”
-Ursula K Le Guin, The Left Hand of Darkness
Catalog of Uncertainty is a new body of screen printed work by Alicia Nauta. These images are windows into past, present and future realities. Different environments, interior and exterior, show glimpses of troubled landscapes and strange rooms. The compositions are at times alienating due to scale, arrangement of objects, and clashing dimensional planes. There is a total absence of human figures; spaces are instead inhabited by plants and abandoned or warped architecture. Some pose questions with no one answer, ruminating on the possibilities found in the uncertain and unwritten future. The images reflect on the dualities and exchanges present in all forms of human and natural life: with light, there is darkness; with progress, there is decline. Environmental degradation, the natural vs manufactured world, abstracted and psychedelic reality, domestic space and human belonging are key themes that are explored.
Illustrations collected from earlier publications, such as home decor guides from the 60's and 70's, botanical guides and encyclopedias, and pre-computer graphic design manuals, form the basis of the work. The images are then manipulated by photocopying, cut and paste, and finally screen printed.
Alicia Nauta is an artist living and working in Toronto. All her work is part of Alicia’s Klassic Kool Shoppe: collage, screenprinting, installation, wallpaper, books and zines, and a growing collection of found oddities for a future museum. She is member of Punchclock, a Toronto print studio, and has taught screenprinting and other DIY workshops at the Art Gallery of Ontario as part of the AGO Youth Free After Three program. She regularly tables at the NY and LA Art Book fairs with publications and prints. Her work has been exhibited at Printed Matter (US), Kogenchecho (JP), the Art Gallery of Ontario, Katherine Mulherin, Artscape Youngplace, and Art Metropole, as well as permanent wallpaper installations at Double Double Land and Likely General.
PERENNIAL | SARAH CANNON | LIKELY GENERAL GALLERY
JAN 3rd - Feb 7th, RECEPTION JAN. 5th, 6-9
Perennial is an exercise in self-care. Through the process of painting, Cannon develops characters to reflect on and respond to her own personal experiences with society’s imposed gender stereotypes, female internalized misogyny and subsequent expressive suppression. Cannon identifies self-imposed solitary confinement, emotional distancing and isolation as significant side-effects of female expressive suppression; we are provided a glimpse of lone female archetypes and quiet moments alone.
Perennials are the ubiquitous form of plant life we refuse to accept. We trim them down, cut them back. Under-appreciated, undervalued, resilient and determined. Albeit limp and fragile; they bloom between the cracks.
Pictured here: Like Weeds, Oil on Canvas, 24x30 inches
U P C O M I N G E X H I B I T I O N S
June | Chris Foster, screen-prints, Toronto
July | Diana Lynn VanderMeulen, collage/drawings, Toronto
September | Cody Deane Cochrane, painting Toronto/Berlin
October | Kirk Clyne, digital 3D generative video, Toronto
November | Marjorie Campbell, sculpture, Toronto
December | Lindsey Lickers, paintings, Six Nations of the Grand River
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