Quwut Sun, 2005, lessLIE (Salish), Serigraph ed/100, 20" x 20", $200
lessLIE
Quwut Sun, 2005
Serigraph ed/100, 20″ x 20″
$200 unframed
LESSLIE 
Cycles of MovementSeptember 20 – October 20, 2018

Fazakas is pleased to welcome a collection of prints by lessLIE in this online exhibition. These serigraphs use screen printing technique to create bold, graphic works. lessLIE uses formline design in a controlled, reduced manner to produce minimalist, often abstracted designs. With references to cyclic natural phenomena such as the rising and setting sun, or the salmon run, these works are skillfully balanced and subtly suggest cycles of movement and transformation.

lessLIE is a contemporary Coast Salish artist. lessLIE is the artist’s creative re-conception of his “colonized, Catholic, Canadian name,” Leslie Robert Sam. Born in 1973 in Duncan, BC, lessLIE grew up in Seattle and his work often articulates his experience as an urban dweller. He frequently uses word play in his titles to reveal hidden meanings, or blends imagery and text through the use of punctuation. For example, his monumental spindle whorl painting titled, wHOLE w(((horld))).

lessLIE holds a Bachelor of Arts degree in First Nations Studies from Malaspina University-College and has been studing Coast Salish art since 1995. He is currently working on a Master of Arts degree in Interdisciplinary Studies with a focus on Coast Salish art at the University of Victoria. His work is held in the collections of the Art Gallery of Greater Victoria, Canada, and the Westfalisches Museum fur Naturkunde in Munster, Germany. He has had solo exhibitions at Two Rivers Gallery, Prince George, and Alcheringa Gallery, Victoria BC. In late 2009, lessLIE participated in the cross-cultural exhibition at Alcheringa, Hailans to Ailans, co-curated by Dr. Michael Mel of the University of Goroka in Papua New Guinea. In 2013 he co-curated the exhibition Urban Thunderbirds/Ravens in a Material World at the Art Gallery of Greater Victoria.

Click here to view the entire exhibition online.

lessLIE
Seeing the Center, 2015
Serigraph ed/100, 22″ x 27.5″
$300 unframed
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ART TORONTO 2018 
BOOTH # C8
October 26 – 29, 2018

COUZYN VAN HEUVELEN
COLE SPECK
CAROLLYNE YARDLEY
CHARLENE VICKERS

Click here to view a preview of our booth

COUZYN VAN HEUVELEN
Nitsiit Installation at Sheridan College
Part of Sheridan’s 2017-2018 Temporary/Contemporary Project Presented in collaboration with the Art Gallery of Mississauga
Image: Toni Hafkenscheid
COLE SPECK
Yo’lakwame, 2018
Red cedar, acrylic, horsehair
CAROLLYNE YARDLEY
Cipher Squirrel, 2018
Oil on panel
CHARLENE VICKERS
Universe Points Purple Yellow, 2016
Watercolour and pencil crayon on paper

Art Toronto Opening Night
Benefit for the Art Gallery of Ontario

Thursday, October 25, 6:30–10pm

Click here to purchase Opening Night tickets.

Show Hours for VIP Ticket Holders
Friday, October 26 – Monday, October 29: 11am – Show Close

Open to the Public
Friday, October 26: 12–8pm
Saturday, October 27: 12–8pm
Sunday, October 28: 12–6pm
Monday, October 29: 12– 6pm

Metro Toronto Convention Centre, North Building
255 Front Street West
Toronto, ON M5V 2W6

To purchase tickets to the fair click here.

Charlene Vickers, production photograph for Speaking with Hands and Territories, 2018. Courtesy the artist.
CHARLENE VICKERS
Speaking with Hands and TerritoriesSeptember 4 – December 6, 2018
SFU Gallery, Burnaby Campus

From SFU Gallery’s website:

Charlene Vickers’ performative gestures speak to an embodied connection to ancestral lands and the agentive capacity of materials to carry a narrative of social and cultural significance. A Vancouver-based Anishinaabe artist, Vickers’ site-specific commissioned project engages her reflection on her long-term residence on Coast Salish territory and the responsibility this relation incurs.

Speaking with Hands and Territories builds on a response to the socio-political and environmental urgency around the Kinder Morgan Trans Mountain Pipeline Expansion, drawing on a dialogue with the opposition on Burnaby Mountain. Earth from the protest site on Burnaby Mountain will be brought to the gallery (also on Burnaby Mountain) and the public is encouraged to consider their own relationship to this land – the unceded territory of the Tsleil-Waututh, Musqueam and Squamish peoples – by forming the earth into a fist-sized sphere that will become part of a hearth-like structure. Often the centre of a home, the hearth is a material and symbolic space of gathering that, in this case, forms a connection to the sacred fire at Kwekwecnewtxw (the “Watch House” at the protest site), creating room for active consideration on how we collectively make a future for Indigenous lands, waterways and peoples.

Vickers’ installation will be continuously evolving with the shared participatory efforts from the public. This project follows SFU Gallery’s recent strategy to operate as a research centre for art and ideas by activating the gallery as a site for collective acknowledgment and responsibility towards the land.

Vickers was a recipient of the 2018 VIVA Award. Recent group exhibitions include Oakville Galleries, Art Museum at the University of Toronto, and MoCNA, Santa Fe, New Mexico. She holds a BFA from Emily Carr University of Art and Design, and a BA in Critical Studies of the Arts and MFA from Simon Fraser University.

Curated by Karina Irvine

Related Event:
Workshop: Charlene Vickers and Roxanne Charles
Saturday, October 27, 1PM
SFU Gallery