Monday, March 2, 2020

Jeff Depner: Weights and Measures, March 6th - 29th, 2020

JEFF DEPNER
WEIGHTS AND MEASURES
MARCH 6TH - 29TH



We are pleased to announce Weights and Measures, Jeff Depner's fourth solo exhibition with Dianna Witte Gallery.

In previous years, Jeff Depner’s abstract paintings strictly adhered to a grid. The geometrical shapes—often referred to as architectural—consistently repeated across the canvas, the shift in colour creating visual variety. The clusters of hard-edged shapes and colour created a mathematical rightness. “The colour harmonies are intuitive and used in conjunction with pattern, rhythm, and variation to invoke a sensory experience,” wrote Depner. 

While his paintings still invoke a sensory experience, in his most recent series, adherence to the grid has relaxed slightly. Depner’s palette has also narrowed, compiled of a combination of subtle greys, blues, and browns —adding more impact when a stronger colour is introduced (in other words, an exclamation mark!). The result is a more organic composition that echoes Depner’s maturity as an artist. “I like to vary the way I begin paintings to try and create situations, accidents or problems that I can then try and dig myself out of,” he explained recently.  

Depner’s work can be understood alongside written language. “As a whole, these units combine to create a sort of ‘abstract sign,’ operating separately from speech and writing patterns, with the intention of seizing the viewer on an unconscious or automatic level,” wrote Depner. The semiotics of language—the alphabet and road signs come to mind in relation to Depner’s abstractions—have been established by Depner, and now there’s enough fluency to play with the forms. For the viewer, this results in a shared experience with a coded language—the visual language of abstract art. 

Imagine this shift as the progression of your own handwriting: in grade school, letters were traced neatly on lined paper. As we get older, our handwriting takes on its own form, loose and unique, and yet the message remains the same. A red octagon still means stop, even if slightly skewed and out of focus. The latter allows for the possibility of play and projection, a viewer can move through the painting creating connections and conclusions that are unique to them, while remaining intrinsically connected to the work.  I want to create “something that creates noise within a pattern or rhythm. In addition to colour, I’ve become more and more interested in materiality and creating objects with presence,” Depner explained. Depner has given us the tools to learn how to read his canvases and, in turn, the language of art. 

In addition to Weights and Measures at Dianna Witte Gallery, Depner has upcoming shows at Nancy Margolis Gallery in New York City and Galerie Anke Schmidt in Cologne. He was recently featured in Art-Die Kunstmagazine as well as the upcoming book “Interviews With Vancouver and BC Artists.”




















Friday, February 14, 2020

Compositions in Nature: February 7th - March 1st, 2020

COMPOSITIONS IN NATURE
GROUP EXHIBITION
FEBRUARY 7TH - MARCH 1ST, 2020

Featuring work by: Anne Griffiths, Casey Roberts, Jeffrey Harrison, Ric Santon, Anna Valdez, Fiona Freemark, Leah Rainey, Corri-Lynn Tetz, Gary Clement, Douglas Walker, Tess Michalik & more. 








Friday, January 24, 2020

Winter Salon: January 3rd - February 2nd, 2020

WINTER SALON
FEATURING GALLERY ARTISTS
DECEMBER 22ND - FEBRUARY 2ND, 2020

Anne Griffiths

Ric Santon

Jeff Depner

Tess Michalik

Anna Valdez

Friday, December 20, 2019

Holiday Group Show: November 30th - December 22nd, 2019

HOLIDAY GROUP SHOW
+ INTRODUCING TESS MICHALIK

NOVEMBER 30TH - DECEMBER 22ND

We are pleased to present our annual holiday group show featuring recent works by gallery artists:
Ric Santon
Anna Valdez
Douglas Walker
Leah Rainey
Fiona Freemark
Casey Roberts
Kim Atlin
Anne Griffiths
& more.
This year we are excited to be hosting stunning work by New York-based guest artist, Tess Michalik.


HOLIDAY CLOSURE

We are available during regular gallery hours until December 22nd. We will be closing for the holidays from December 23rd until January 1st, available by appointment only. 



Tess Michalik



Casey Roberts

Douglas Walker

Fiona Freemark

Leah Rainey

Ric Santon



Sunday, November 3, 2019

Ric Santon: You Me Here There, November 8th - 24th, 2019

RIC SANTON
YOU ME HERE THERE

NOVEMBER 8TH - 24TH
RECEPTION: FRIDAY NOVEMBER 8TH, 7-9PM


We are pleased to present YOU ME HERE THERE, a solo exhibition of new paintings by Ric Santon.

"YOU ME HERE THERE are the most commonly used words in the english language. I read that on the internet some time ago and made a note. Maybe it’s true, maybe not, the only fact is that it was on the internet and that means it’s real.  I have a habit of collecting phrases, images or anything that strikes me as interesting and squirrelling them away for future use. And, like a squirrel, I forget where I store most of them. 
When coming up with this new series of absentminded finger doodles on misty windows against luminous backdrops, I stumbled upon that note and I felt it fit perfectly with the theme I was trying to realize. It begins to describe something that is both direct and random, objective and poetic. It conjures an impression of a daydream. Those doodles, like daydreams, don’t last long but they leave a mark."

Please join us for an opening reception on Friday November 8th from 7-9PM.










Friday, October 4, 2019

Jeremy Miranda: One Summer, October 4th - November 2nd, 2019


JEREMY MIRANDA
ONE SUMMER
OCTOBER 4TH - NOVEMBER 2ND
RECEPTION: FRIDAY OCTOBER 18TH, 7-9PM


We are pleased to present One Summer, Jeremy Miranda's second solo exhibition with Dianna Witte Gallery. Miranda has become well known for his playful landscapes that fuse scenes of local environments with imagined architectural details - seaside sun rooms that merge with the ocean, or thin ladders that climb the side of a stories-high cliff. With this new exhibition, Jeremy is rooted in depictions of his changing routine, while keeping sparks of the ethereal within the small details of a moody sunset, or the glow of fireflies on a summer night. These new paintings are a departure from the invented narrative spaces typical in his work. They are grounded in the everyday and are primarily about observing the forms and colour that make up the spaces in his immediate surroundings. Miranda lives and works in Dover, New Hampshire. He received his BFA from the Massachusetts College of Art and Design in 2004.







Friday, August 30, 2019

Leah Rainey: Surface Shape, September 6th - 29th, 2019


LEAH RAINEY
SURFACE SHAPE
SEPTEMBER 6TH - 29TH
RECEPTION: FRIDAY SEPTEMBER 6TH, 7-9PM

We are proud to present Surface Shape, Leah Rainey's first solo exhibition at Dianna Witte Gallery. Rainey is a Canadian painter who lives and works in Toronto, Ontario. She studied at Loughborough College of Art and holds a BA Hons in Fine Art from Chelsea College of Art, London. In 2013, Rainey’s work was exhibited at The Power Plant in More Than Two (Let it Make Itself),curated by Micah Lexier, and in 2015 she was included in a juried group show at the Thames Art Gallery (Chatham), curated by Sky Glabush. She has been represented by Dianna Witte Gallery since 2016. 

We invite you to join us for an opening reception on Friday September 6th from 7-9PM.

Leah Rainey’s paintings are visual manifestations of our peripheral vision, like stills of something you see out of the corner of your eye. 
The balance between space and information are imprints of what we unconsciously register. In other words, Rainey captures the uncapturable, translating it into abstract shapes and surfaces that hint at its original source material.
In this recent body of work, Rainey makes paintings of paintings, creating meta-images based in and of paint, rather than reality. Her paintings are made up of fragments of various paintings, evoking a shattered mirror: each piece reflects a different surface, while the canvas itself is its own surface. Just like a mirror, Rainey’s paintings reflect its source material. By referencing small scraps and discarded cast offs of old paintings, while trying to recreate their texture and shape on a larger scale, Rainey distances the final product from the original source, culminating in a faint memory of its origin.


The process-based methods of Rainey’s paintings coalesce in multiple surfaces within one canvas, switching between direct painting to distressed surfaces with ease. The colour within the works are highly saturated, built up through multiple layers, and yet Rainey’s relationship with those colours remains restrained. This communication between limited palettes and nuanced surfaces balance the paintings and creates a sense of harmony. 



Each painting in Surface Shape can be viewed individually, but the repetition of forms throughout the series accumulates into something bigger. A thread weaves throughout the series—visual clues repeat throughout the canvases—connecting the paintings. A visual language emerges. The act of decoding each surface, Rainey’s visual language, and processing a context you don't quite understand becomes an integral part of the work. 



Rainey’s paintings translate the movement of life, and that which is left behind, into a single image; like the out-takes of a silent film contained within a single canvas.