Diana Thorneycroft

Group of Seven Awkward Moments (Winter on the Don)

2007

Canadians have a funny kind of national identity, meaning specifically we do not really have one. To say that there is a national identity is to enter into a discussion without end -because there are just too many different kinds of people in Canada- it would be impossible to pin identity to anything, let alone a top-down Multicultural Act, or a Group of Seven. Strangely though, in art, that is exactly where Canadian begins, with a Group of Seven. In Diana Thorneycroft’s new series Group of Seven Awkward Moments, the momentous humor Canada is famous for is contrasted with the nation’s dirty little secret: that it is not funny at all, and in fact, much too serious, bordering on menacing. The new series of works falls into a line of art objects created by Canadian artists within the last few years that utilize parody and play to explode the hallowed imagery of nationalized corporatism. In the case of Thorneycroft, the use of backdrops that are reproduced works of the Group of Seven and Tom Thompson...

Canadians have a funny kind of national identity, meaning specifically we do not really have one. To say that there is a national identity is to enter into a discussion without end -because there are just too many different kinds of people in Canada- it would be impossible to pin identity to anything, let alone a top-down Multicultural Act, or a Group of Seven...

Canadians have a funny kind of national identity, meaning specifically we do not really have one. To say that there is a national identity is to enter into a discussion without end -because there are just too many different kinds of people in Canada- it would be impossible to pin identity to anything, let alone a top-down Multicultural Act, or a Group of Seven. Strangely though, in art, that is exactly where Canadian begins, with a Group of Seven. In Diana Thorneycroft’s new series Group of Seven Awkward Moments, the momentous humor Canada is famous for is contrasted with the nation’s dirty little secret: that it is not funny at all, and in fact, much too serious, bordering on menacing. The new series of works falls into a line of art objects created by Canadian artists within the last few years that utilize parody and play to explode the hallowed imagery of nationalized corporatism. In the case of Thorneycroft, the use of backdrops that are reproduced works of the Group of Seven and Tom Thompson...

Canadians have a funny kind of national identity, meaning specifically we do not really have one. To say that there is a national identity is to enter into a discussion without end -because there are just too many different kinds of people in Canada- it would be impossible to pin identity to anything, let alone a top-down Multicultural Act, or a Group of Seven. Strangely though, in art, that is exactly where Canadian begins, with a Group of Seven. In Diana Thorneycroft’s new series Group of Seven Awkward Moments, the momentous humor Canada is famous for is contrasted with the nation’s dirty little secret: that it is not funny at all, and in fact, much too serious, bordering on menacing. The new series of works falls into a line of art objects created by Canadian artists within the last few years that utilize parody and play to explode the hallowed imagery of nationalized corporatism. In the case of Thorneycroft, the use of backdrops that are reproduced works of the Group of Seven and Tom Thompson...

Post-colonialism has taught us that history is multifaceted, and can never be a straightforward narrative from a single point-of-view. When considering stories of the past, we collectively need to ask: Whose history is being remembered; whose recollections are recorded and on what terms? Who will talk about what the disenfranchised will have to endure if they are voiceless? Thorneycroft voices the stories of the marginalized in her series A People’s History, a group of images that clearly evolved from her works Group of Seven Awkward Moments and the Canadiana Martyrdom Series, with their kitschy Canadian icons and archetypical wooded landscapes as backgrounds. She crafts and captures events in Canadian history that people are disinclined to claim as their own. These scenes are enacted using tinker toys, which come across as both didactic tools and horrifying misappropriations. Thorneycroft points out that these images all involve the disadvantaged, the uneducated and the young – populations that are frequently overlooked and whose grievances go unheard. One particularly striking and complex photograph is Quintland, a depiction of the lives of the Dionne quintuplets...

Canadians have a funny kind of national identity, meaning specifically we do not really have one. To say that there is a national identity is to enter into a discussion without end -because there are just too many different kinds of people in Canada- it would be impossible to pin identity to anything, let alone a top-down Multicultural Act, or a Group of Seven...

A good friend of the artist’s fascinating and prized collection--human and animal bones, taxidermy, ostrich feathers and a child’s figurines strike a...

OMAR TORRES (Mexico City, 1977)
Lives and works in Mexico City The artist produces sets for each piece, which he then photographs. This is what makes Omar Torres’s works spectacula...

Fine Art Print, limited editions.

Blue Whale - Signed limited edition archival pigment print, 2018 - Edition of 5 Sri Lanka One second in the blue…. This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper). The inks used are also known for their longevity. Signed + numbered by artist with certificate of authenticity. Archival pigment print available sizes ( Image size , the white margin is not counted) : 70 x 100 cm / 27,55 x 39,37 in. - Edition of 5 100 x 150 cm / 39,37 x 59.05 in - Edition of 5 Olivier Borde...

Oscar - Signed limited edition archival pigment print, Edition of 5 Provenance : Ian Sanderson’s Estate This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Acid-free and lignin-free paper, Museum quality paper for highest age resistance and a popular alternative to analogue baryta paper). The inks used are also known for their longevity. Named Oscar the time to photograph it, this lobster returned to live in the sea... No animals were mistreated during the photoshoot. Signed + numbered by artist with certificate of authenticity, unframed Please note. There are three sizes of this archival pigment print ; each is an edition of five (5) making the total that can be printed as fifteen (15). This will include any custom sizes requested Available sizes ( Image size , the white margin is not counted): 39 x 35 cm / 15,35" x 13,77" - Edition of 5 60 x 67 cm / 23,62" x 26,38" - Edition of 5 ( 4 available ) 102 x 91 cm / 40,15" x 35,82" - Edition of 5 Ian Sanderson (born 1951 Scotland, died 2020 Spain) was a Scottish photographer. He produced images over a 35 year career, and in recent years used archival techniques to produce his prints. For most of his career he worked as both a Commercial and Fine Art photographer, and during his last years concentrated on his personal imagery. Towards the end of his life journey, Ian was reviving with his partner two 19th century printing techniques in their studio, Platinum Palladium and Gum Bichromate ( one-of-a-kind pieces). This culminated in a large retrospective exhibition in Barcelona which was sponsored by the Nando and Elsa Peretti Foundation. The Platinum and Palladium prints are particularly interesting as they printed them onto vellum paper therefore transparent and bonded pure gold or silver to the back of the prints ( every print is therefore a unique and timeless piece of art). They have created rare and personalized pieces with an artisanal technique. Ian Sanderson was one of only a handful of artists worldwide producing this type of work. Nowadays, Ian’s partner continues their work, she’s still creating Platinum Palladium prints but also silver gelatin photographs. Styles: Colour photography, 21st century, Archival print, Long room, kitchen decorative...

" Macaw #7 ” - Signed limited edition archival pigment print - Edition of 3 Green-Winged Macaw in flight. These large parrots can be mistaken for a Scarlet Macaw as their plumage is mainly red from the front. They are the second largest parrots next to the Hyacinth Macaw...