sarah rooney

EXPOSITION À VENIR // UPCOMING EXHIBITION

GALERIE KARSH-MASSON,
OTTAWA MAI 30 - JUILLET 28, 2019

ÉVÉNEMENT

ÉDITIONS ESSE ARTS + OPINIONS : VENDU-SOLD Édition 2018
MUSÉE DES BEAUX-ARTS DE MONTRÉAL
22 NOVEMBRE 2018

SAILING IN A RAIN SHADOW DESERT (sr1), 2018

gesso, ink, and acrylic on linen, mounted on wood support,

17” x 22” / 43cm x 55cm

L’œuvre Sailing in a Rain Shadow Desert (sr1) est tirée d’une nouvelle série de peintures du même nom. D’échelle intime, cette pièce abstraite nous attire dans un lieu de compression et d’expansion ; elle se caractérise par une lueur vacillante, la vitesse et le pivotement. La courbe fournit un dispositif structurant, un marqueur malléable qui ouvre l’espace aux possibilités de pensées latentes, alors que l’œil est captivé dans une atmosphère de champs changeants, de traces de la main et d’ombres potentielles de l’eau.

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Sailing in a Rain Shadow Desert (sr1) is a work from a new series of paintings of the same name. Intimate in scale, this abstract piece draws us into a realm of compression and expansion, characterized by flickering light, speed, and rotation. Here the curve is used as a structuring device, a malleable marker that opens space to the possibility of latent thought as the eye is drawn into an atmosphere of shifting scopes, traces of the hand, and potential shadows of water.

ÉVÉNEMENT

FOIRE PAPIER - PAPER ART FAIR, BOOTH D01 - MARTIN SCHOP
ARSENAL CONTEMPORARY, MONTREAL
19 – 22 AVRIL 2018

SPRING EXHIBITION

IMPULSION DE RÉSEAU // NETWORK IMPULSE
Luce Meunier | Sarah Rooney | Monica Tap
Commissaire / Curator Jakub Zdebik
GALERIE R3, Université du Québec à Trois-Rivières, QC
8 – 27 mars 2018

PROJECT

THERE’S SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

THERE’S SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

This project is part of an on-going dialogue between painting and photography through a layering of registers. As a witness to subtle spatial conundrums, the works in this series are reflections on shifts in distance, immediacy, and time.

Suspended Emulsions investigate ways of putting pressure on the viewing experience. Photographs formalized as precisely scaled prints immerse the viewer in the foam-like space of the image. Touching on the challenges of global proximity and distance, they invite us to visually inhabit the materiality of the print surface as well as the landscape of the in-between at the edge of the ocean, making visible a layering of potential planes. The Capsule paintings are like artefacts of time surveillance—forms between monolith and sail.

The oceanic elements in these works put forward an opening for a seeping through of the unseen and the unforeseen. Encapsulated in the encounter between painting and photography is the ebb and flow of the tides, where seeing is defined as much by erasure as it is by presence