sarah rooney

RAIN SHADOWS 6, 2020

gesso and acrylic on linen over wooden panel, 49 x 13” | 48 x 35 cm

Rain Shadows 6, 2020, est une peinture à échelle intime qui fait suite à un projet récent de l'artiste, Radiators & Dunes, présenté à la Galerie McClure à l'automne 2019. Dans cette œuvre, l'espace en plongée, les couleurs vives et les fragments organiques construisent un paysage de matière comprimée.

Rain Shadows 6 is an intimate scale painting that follows from the artist’s recent project, Radiators & Dunes presented at McClure Gallery in fall 2019. In this work, swooping space, vivid colour and organic fragments build a landscape of compressed matter.

Orléans Gallery, OSA, Shenkman Arts Centre, Ottawa

6 January – 8 February 2020

MALLEABLE GEOMETRY

Curator Jakub Zdebik

Sarah Rooney’s Malleable Geometry puts on display the poetic fluidity of her hybrid practice of painting and photography to reveal how contemporary aesthetics intertwine with modernism.

« Géométrie malléable » de Sarah Rooney met en évidence la fluidité poétique de sa pratique hybride de la peinture et de la photographie, révélant ainsi l’esthétique contemporaine s’entremêlant du modernisme.

Orléans Gallery, OSA, Shenkman Arts Centre, Ottawa

6 January – 8 February 2020

Photo Credit: Julia Martin

ASTRAGAL DUNE 1, 2019

inkjet print on archival paper, 19 x 27" | 48 x 71 cm

RAIN SHADOWS 1, 2018

gesso and acrylic on linen over wooden panel, 49 x 13” | 48 x 35 cm

left to right

BASIN PARTICLES, 2018
gesso and acrylic on canvas, 36” x 55” | 92 x 140 cm

BASIN PARTICLES 2, 2018
gesso and acrylic on canvas, 36” x 55” | 92 x 140 cm

Orléans Gallery, OSA, Shenkman Arts Centre, Ottawa, 2020

Photo Credit: Julia Martin

ASTRAGAL 1, 2019

gesso and acrylic on canvas
78 x 85” + 78 x 85” | 200 x 218 cm + 200 x 218 cm

Photo Credit: Richard-Max Tremblay

MALLEABLE GEOMETRY

Orléans Gallery, OSA, Shenkman Arts Centre, Ottawa, 2020

Photo Credit: Julia Martin

left to right

BASIN PARTICLES 4, 2019
gesso and acrylic on canvas, 21 x 32” | 55cm x 83 cm

RAIN SHADOWS 5, 2019
gesso and acrylic on canvas, 21 x 32” | 55cm x 83 cm

Photo Credit: Richard-Max Tremblay

left to right

ASTRAGAL DUNE 2, 2019
inkjet print on archival paper, 13 x 20” | 35 x 53 cm

ASTRAGAL DUNE 3, 2019
inkjet print on archival paper, 13 x 20” | 35 x 53 cm

Photo Credit: Julia Martin

ASTRAGAL 2, 2019

gesso and acrylic on canvas

78 x 85” + 78 x 85” | 200 x 218 cm + 200 x 218 cm

Photo Credit: Julia Martin

RAIN SHADOWS 2, 2018

gesso and acrylic on canvas

60 x 48” | 152 x 121 cm

Photo Credit: Julia Martin

EXPOSITION

MALLEABLE GEOMETRY

Curator Jakub Zdebik

Sarah Rooney’s Malleable Geometry puts on display the poetic fluidity of her hybrid practice of painting and photography to reveal how contemporary aesthetics intertwine with modernism.

ASTRAGAL DUNE 1, 2019

épreuve au jet d’encre sur papier archive | inkjet print on archival paper, 19” x 27” | 48 x 71 cm

Photo Credit: Richard-Max Tremblay

ORLEANS GALLERY, OSA, SHENKMAN ARTS CENTRE, OTTAWA

6 JANUARY – 8 FEBRUARY 2020

VERNISSAGE, SUNDAY, 12 JANUARY, 1 – 3 PM

de gauche à droite | left to right

BASIN PARTICLES 4, 2019
gesso et acrylique sur toile | gesso and acrylic on canvas, 55 x 83 cm

RAIN SHADOWS 5, 2019
gesso et acrylique sur toile | gesso and acrylic on canvas, 55 x 43 cm

Photo Credit: Richard-Max Tremblay

GÉOMÉTRIE MALLÉABLE

Commissaire Jakub Zdebik

6 JANVIER - 8 FÉVRIER 2020

VERNISSAGE, DIMANCHE LE 12 JANVIER 2020 DE 13H À 15H

GALERIE ORLÉANS, EAO, SHENKMAN ARTS CENTRE, OTTAWA

EXPOSITION

RADIATORS & DUNES

4 – 26 OCTOBRE, 2019

VERNISSAGE | LANCEMENT DU CATALOGUE, JEUDI, 3 OCTOBRE, 18h à 20h

GALERIE MCCLURE, MONTRÉAL

ASTRAGAL 1, 2019 (détail)

Les nouvelles œuvres de Sarah Rooney en peinture et photographie laissent de subtiles traces de limites entre la matière et la matérialité, la forme et la formation. Ses recherches révèlent une superposition de décision, où la nature et la construction se rencontrent, reliant les coups de pinceau en peinture à un champ conceptuel. Dans l’exposition Radiators et Dunes, Rooney présente des diptyques et des triptyques créés en réponse à l’étendue du désert, interprétée par l’entremise de fragments organiques et de résidus d’emballages industriels en fibre de pâte à papier. Unis par une géométrie malléable, les œuvres traitent des notions contemporaines de sublime, d’espace et d’échelle ainsi que d’atmosphère.

IMAGES LEFT TO RIGHT

RAIN SHADOWS 3, 2018
BASIN PARTICLES 3, 2018
RAIN SHADOWS 4, 2018

Photo Credit: Richard-Max Tremblay

EXHIBITION

RADIATORS & DUNES

4 – 26 OCTOBER, 2019

VERNISSAGE | CATALOGUE LAUNCH, THURSDAY, 3 OCTOBER, 6 - 8 PM

MCCLURE GALLERY, MONTREAL

Sarah Rooney’s new paintings and photographs leave traces of subtle boundaries between matter and materiality, form, and formation. Her research reveals a layering of decisions, where nature meets construction, linking painting brushstrokes to a conceptual field. In the exhibition Radiators & Dunes, Rooney features diptychs and triptychs created in response to desert expanse, interpreted through the lens of organic fragments and residual fibre paper-pulp packaging. United by a malleable geometry, the works deal with contemporary notions of the sublime, space and scale, and the atmospheric.

SUMMER EXHIBITION

ABSTRACT NETWORKS

CURATED BY JAKUB ZDEBIK

LUCE MEUNIER | SARAH ROONEY | MONICA TAP

MAY 30 – JULY 28 2019

VERNISSAGE THURSDAY, MAY 30, 5:30 - 7:30 PM

GALLERY KARSH-MASSON, OTTAWA

Abstract Networks, installation view gallery Karsh-Masson, Ottawa

Sarah Rooney: THERE IS SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

Photo Credit: Julia Martin

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.

//

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