Ephemeral Fields by Andrzej Maciejewski

White Water Gallery is pleased to announce our next exhibition, Ephemeral Fields by Andrzej Maciejewski, running at the gallery from September 28 to November 16, 2024. There will be an opening reception on Saturday, September 28 from 1 – 3 pm, which will include an artist talk. Ephemeral Fields is a series of autobiographical diptychs that explore the intersections of modern science, philosophy, and mental health.

On the left-hand side of the diptych are photographs of the artist’s father’s pencil drawings, and each involves an element of ephemeral movement. The artist’s father was diagnosed schizophrenic and died by suicide, leaving 23 small note books with reflections on his life. Five of these books are entirely devoted to “electromagnetic events” and are meticulously transcribed textbooks that include many precise technical drawings.

The images on the right-hand side of the diptych exist in counterpoint and are extracted from mundane everyday objects and occurrences that directly relate to specific events of the artist’s father’s life — occurrences that are rarely noticed, or observed. These small, ephemeral moments are unrepeatable, capturing a moment that can only ever happen once. Shown at microscopic scale, these objects transform into something symbolic, unique and ephemeral. These images are empirical “proof” of theories explained by the numbers, equations and diagrams on left side image.

Paired together, the diptychs speak to the power of legacy, the narrative of autobiography, mental health, particle physics, and the ephemeral nature of existence.

Andrzej Maciejewski was born in 1959 in Poland. He studied at Warsaw College of Photography in Poland, Polish Society of Art Photographers School, and College of Photographic Arts in Ostrava in Czechoslovakia. In 1985 he moved to Canada. He worked as a commercial photographer in Toronto until mid-1990s. He then moved to the countryside in Eastern Ontario and devoted himself entirely to his art. He has published 5 books: Bread (1996), Toronto Parks (1997), After Notman (2003), Garden of Eden (2012) and Weather Report (2016). “After Notman” was a Canadian bestseller and has been widely discussed internationally.

His work has been exhibited at over 60 solo shows in Canada, USA, Poland, UK, Germany, Norway, Latvia, Finland and Uganda. His 2015 series “Weather Report”, involved a series of Camera Obscura images of the same place in different weather conditions, where his 2011 series “Garden of Eden” that has exhibited internationally, explored the form of still life, translating iconic paintings through photography. Maciejewski’s much-lauded 2013 series, “After Notman” involved exact rephotographs of 19th Century Notman’s Montreal views, and his “VIP Portrait Gallery”, that was first shown at The Rooms (NL), explored traditional portraiture lighting and techniques using potatoes as the subject.

His works are found in many private and public collections including the National Gallery of Canada in Ottawa, the McCord Museum of Canadian History in Montreal, and the Preus Museum in Norway, and the Museum fur Kunst and Kulturgeschichte in Germany, among others. He teaches photography in Fleming College, Haliburton School of Art and Design in Canada.

To Bend & To Shape

A multimedia exhibition by Clare Samuel

White Water Gallery is excited to present To Bend & To Shape, a multimedia exhibition including photography and video by Toronto-based artist Clare Samuel, from March 23 to May 18, 2024. There will be an opening reception from 2 to 4 pm on Saturday, March 23, with an artist talk happening at 3 pm.

The photographs and videos in To Bend & To Shape make connections between the representation of women’s bodies in histories of the witch hunts, folk tales, and in contemporary cultural myths of femininity. The project was inspired by historian Silvia Federici’s framing of the witch hunts (which occurred over several centuries in Europe and its colonies) as a genocide against women, as well as intersecting identities also considered as ‘other’ such as the poor, racialized, and disabled. Federici argues that the transition to capitalism was only possible through the destruction of women’s power, confining their role to the home and the reproduction and care of the workers.

In witch lore and folktales women’s bodies have magical properties: they can fly, transform their appearance, or use their hair to sink ships. The title To Bend & To Shape references how the word ‘witch’ comes from the root word ‘wic’ meaning to bend or shape — materials, reality or consciousness. In reality women’s bodies also morph and shift, through the stages of life and in the processing of bringing life into the world. And contemporary beauty standards tell us to shape, control and transform ourselves in particular ways. Narrow cultural perspectives on femininity or beauty can also be bent and shaped, in ways that empower us.

Clare Samuel is a visual artist originally from Northern Ireland, now living in Toronto. She holds a BFA from Toronto Metropolitan University and an MFA from Concordia University. Her work focuses on connection and distances between the self and other, as well as notions of social division, borders, and belonging. Spanning mediums such as photography, video, text and installation, her projects are often a dialogue with the idea of portraiture. She has exhibited internationally, most recently at OBORO, Belfast Exposed, and VU Photo, with upcoming solo exhibitions at Public Space One (Iowa City) and PAVED Arts (Saskatoon). Clare’s practice has been supported by Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council. She is co-founder and co-director of Feminist Photography Network, a nexus for research on the relationship between feminism and lens-based media.