South Korean artist JeeYoung Lee’s Loveseek, pigment print, 2014.courtesy of the artist
I should begin by telling you: I believe in magic. I’ve encountered it many times in my life, when the reasoning mind goes quiet and the moment seems bursting with possibility. It is the feeling of wonder. And I’ve felt it most of all through art.
Wonder is perhaps the zenith when it comes to the kinds of experience art can provide us. However, it’s also elusive. What inspires wonder for me may not be the same for you. That makes it both exciting and a little audacious that the Art Gallery of Hamilton has staged an exhibition completely dedicated to it. Wonder gathers 30 artists – all Canadians save for one – whose work courts our curiosity.
It all began, funny enough, as a show about realism, explains curator Tobi Bruce. But when reality right now feels especially unsettled – what with fake news, artificial intelligence and a chasmic political landscape – it seemed to her equally important to investigate how reality is manipulated, challenged and invented. “What are the kinds of works,” she asks, “that take us outside of ourselves and make us question who we are, how we are and where we are?”
JeeYoung Lee, The Best Cure, pigment print, 2007.Courtesy of the artist
Those intellectual underpinnings may return to you on the ride home, but they’re not what will drive you through the show. Standing in the gallery, what you will experience foremost is the pursuit of that electric feeling. What confounds? What dazzles? What demands a closer look? And there are enough spectacular works on view that anyone will catch the feeling at least once.
Fittingly, Wonder begins with a portal. Attendees enter through Frolic Trellis by Stephen Altena (one of six Hamilton locals included). A mass of paintings and drawings clipped from the past six years of the artist’s daily studio practice forms a grand doorway. Each cutting is a picture of a tiny marvel the artist has encountered: blooms sketched en plein air here and figures found on toile de Jouy fabric there. The display invites viewers to first admire the big, then the small and then the both at once. “I want visitors to be overwhelmed, like you would be stepping into someone’s beautiful garden,” Altena says. “Overwhelmed, but then, like in a garden, you stop and begin to look at the layers of flowers.”
In the next gallery over, Robin Arseneault’s abstract figures, titled Dancing Men (Troupe), enact a rollicking vaudeville routine, boisterous and sprightly, though technically, as inert as the wood they’re carved from. Tim Whiten’s most solemn Awk – a leather tunic with a shark’s jaw burst through the chest cavity – hangs in counterpoint nearby, commanding reverence and quiet contemplation. The recent Governor-General’s Award winner considers himself a maker of cultural objects, and Awk feels like a magical artifact or a holy relic, but one belonging to no religion in particular; except perhaps instead if belongs to the mysteries of human experience.
Stylo Starr, planetary bodies: luna, analog collage, 2023.Courtesy of the Artist
Across the room, Evan Penny’s sculptural portrait Camille, portraying Canadian performance artist Camille Turner, draws visitors closer almost magnetically with the uncanny power of its hyperrealism. Penny is known and collected around the world for such astonishingly lifelike works, made from hair and fleshy silicone, materials the artist has borrowed from the special-effects industry. The magic here issues from a discrepancy in expectations, the artist says. The work contains as much detail as a photograph, but it exists, bafflingly, in three-dimensional space, just as you and I. It’s “art’s job,” Penny says, to inspire wonder, and to push beyond the threshold of the ordinary. “As we move through life, we’re moving from the known to the unknown constantly, and so we need some assurance that that unknown is a place worth entering. I think art does that. Its function is to make representations that are novel enough that they move you forward.”
Of course, there’s also wonder’s other meaning – to ponder or question – and there are plenty of works that engage that, too. Beside a gorgeous, but more conventional magic-in-the-mundane oil painting of Jell-O by Mary Pratt, you’ll find one of her best renderings of Donna, her friend and also her husband’s mistress, who’s captured here in a private moment locking eyes with the viewer through the reflection of the bathroom mirror. Nearby, an Alex Colville that could prompt a whole mystery novel shows a woman undressed with a man in tuxedo watching from the background, a handgun displayed prominently on her vanity. There’s Carmela Laganse’s unorthodox furniture; Chloe Wise’s decadent urethane foodscapes, their syrups and sauces dripping down the plinths; and Kim Adams’s two-headed bicycle, which you can only delight to picture in action.
Emmanuel Nwogbo, The Nigerian Prince: Coming to Halifax, printed digital collage, 2019.Courtesy of the Artist
“When we wonder as a verb, it’s always generative,” Bruce says. “And wonder as a noun is transportive.”
In one of the final galleries, Chun Hua Catherine Dong’s Out of the Blue – No. 3 is an exuberant arrangement of laboratory gear, artificial flowers and cutesy 3-D-printed animals. Dong’s middle school teacher in China prohibited female students from using the chemistry lab. Here, the artist revisits the childhood memory, now a glorious and fantastical subversion: the laboratory they could only ever dream of.
Chun Hua Catherine Dong, Out of the Blue – No.3, 3D-printed sculptures, artificial plants, Plexiglas, laboratory accessories, 2023.Courtesy of the Artist
Then, in the backroom, a true grand finale for the show about wonder. Xiaojing Yan’s Spirit Cloud is a completely otherworldly thing. Made from more than 33,000 freshwater pearls, the cumuliform body afloat in the gallery approaches the sublime. It compels your gaze, appearing to reshape itself as you explore it. And there, with your own private cloud to spot, surely, your imagination will be ignited once more.
“When I experience wonder, it feels like a doorway to the infinite has opened up,” the artist says. “It’s a reminder that there is so much more to life, so much beauty, mystery and possibility waiting to be discovered. … In moments of wonder, we are like children again, seeing the world with fresh eyes.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
