Luke O'Sullivan Mixed Media

Wychwood White by Michael Olsen [2022] original Handmade Fabric Butterflies in Perspex Box Image size: H:75 cm x W:75 cm Complete Size of Unframed Work: H:75 cm x W:75 cm x D:10cm Frame Size: H:75 cm x W:75 cm x D:10cm Sold Framed Please note that insitu images are purely an indication of how a piece may look Wychwood White is an original work by Michael Olsen. The bright and bold colours of the butterflies make this a joyful piece. Olsen’s use of perspex allows for work to fit sleekly into any interior. Michael Olsen says: My working life has lead me down numerous paths. Retailing medicines through my Pharmacy business in the early years to creating the 1st UK Pet superstore in 1990 and more recently operating a coffee shop, I’ve almost always enjoyed how I’ve earned my living. Having spent the greater part of my 74 years making things simply for pleasure or for practical purposes, more recently I’ve been able to allow my artistic impulses develop. What was a hobby has now become a full time and gratifying venture. I enjoy the simple, beautiful things that life has to offer – family, love, the outdoors (cycling through it), music (better heard through a needle) and time spent happily with others as well as alone – all of which inspire me to try to create things to enhance the enjoyment of life. I’ve always been fascinated by nature and in particular butterflies. To me, there is something captivating about that moment when a butterfly stops to allow an onlooker to admire its form. Using this as my stimulus I wanted to see if I could create something that was both contemporary and visually stimulating. An installation which could be displayed in homes, offices, restaurants as well as hotel rooms. I decided to create a flight of butterflies...

Joshua Smith Cecile Walker Cycles Based on Cecile Walker Cycles, Melbourne Cardboard, MDF, plastic card, LED lighting, balsa wood, aluminum tubing, wire, recycled card, adhesive pape...

medium: reclaimed button-down shirts, wire, flower frog ARTIST STATEMENT "Flowers have been a large part of my work for years, but they took on new meaning for me in 2020. As our backyards and gardens became a common respite from the fear, isolation, and boredom of the early days of the pandemic, I thought about the ubiquity of flowers in our lives. We use them to celebrate when life is good, as well as to sooth ourselves when it is not. Their ambiguity is what allows them to be such a versatile symbol. As the world became more uncertain, I craved beauty, both in my life and in my work. Fairly quickly the floral motifs that have been a mainstay of my wall installations began to dominate my sculptures and appear in my paint-chip mosaic work. Most of my flowers are created using second-hand shirts sourced from thrift shops. As I shop for materials, I focus on searching for certain colors, textures, and patterns, but I also think about the people who once cherished these items of clothing. I think about how the shirts end up here. Did the size or style no longer fit the owner? Or maybe it was part of the final Goodwill run after a loved one passed. I like to think that an article of clothing can have a memory, retaining the essence of the person who wore it and that once transformed, a little bit of that spirit becomes part of the artwork. Over the years, since I started making flowers from shirts, I’ve had many people tell me that a petal or a leaf is made from the same material as a shirt that they once had. I often wonder if objects can circle back and reunite with their previous owner. I realize that the odds are slim, but they’re not zero. If you have donated a shirt to charity in New Orleans in the last couple of years, then there is a chance that a little bit of it is hanging on the gallery wall right now." BIOGRAPHY CARLTON SCOTT STURGILL was born in Cincinnati, Ohio in 1971 and is a graduate of the University of Cincinnati (B.A. 2002) and Chelsea College of Art and Design (M.A. Fine Art 2005) in London, United Kingdom. His multidisciplinary body of work includes painting, sculpture, collage, and installation and incorporates a wide variety of materials, with a particular emphasis on repurposed everyday objects. His site-specific floral installations created using second-hand button-down shirts have been displayed in settings as diverse as the Drifter...

Globalization IV: Collateral Damage, ash, commercial wood, paint, blue concrete bullets, 32" x 97" x 4" (Installed dimensions), 2005. This 3-piece wall sculpture was done by San Francisco-based artist, Gyöngy Laky...

Eugene Kupjack's love affair with miniatures began when he saw an article in Life Magazine about MrsNarcissa Niblack Thorne's (of the Montgomery Ward fortune) European-Style miniatur...

medium: reclaimed button-down shirts, wire, flower frog ARTIST STATEMENT "Flowers have been a large part of my work for years, but they took on new meaning for me in 2020. As our backyards and gardens became a common respite from the fear, isolation, and boredom of the early days of the pandemic, I thought about the ubiquity of flowers in our lives. We use them to celebrate when life is good, as well as to sooth ourselves when it is not. Their ambiguity is what allows them to be such a versatile symbol. As the world became more uncertain, I craved beauty, both in my life and in my work. Fairly quickly the floral motifs that have been a mainstay of my wall installations began to dominate my sculptures and appear in my paint-chip mosaic work. Most of my flowers are created using second-hand shirts sourced from thrift shops. As I shop for materials, I focus on searching for certain colors, textures, and patterns, but I also think about the people who once cherished these items of clothing. I think about how the shirts end up here. Did the size or style no longer fit the owner? Or maybe it was part of the final Goodwill run after a loved one passed. I like to think that an article of clothing can have a memory, retaining the essence of the person who wore it and that once transformed, a little bit of that spirit becomes part of the artwork. Over the years, since I started making flowers from shirts, I’ve had many people tell me that a petal or a leaf is made from the same material as a shirt that they once had. I often wonder if objects can circle back and reunite with their previous owner. I realize that the odds are slim, but they’re not zero. If you have donated a shirt to charity in New Orleans in the last couple of years, then there is a chance that a little bit of it is hanging on the gallery wall right now." BIOGRAPHY CARLTON SCOTT STURGILL was born in Cincinnati, Ohio in 1971 and is a graduate of the University of Cincinnati (B.A. 2002) and Chelsea College of Art and Design (M.A. Fine Art 2005) in London, United Kingdom. His multidisciplinary body of work includes painting, sculpture, collage, and installation and incorporates a wide variety of materials, with a particular emphasis on repurposed everyday objects. His site-specific floral installations created using second-hand button-down shirts have been displayed in settings as diverse as the Drifter...

medium: reclaimed button-down shirts, wire, flower frog ARTIST STATEMENT "Flowers have been a large part of my work for years, but they took on new meaning for me in 2020. As our ba...

Artist Statement by Rachelle Krieger: These new ceramic sculptural works are a reflection of biodiversity and vitality, capturing natural elements in various stages of life. During ...

This beautiful blue and white dimensional butterfly piece is made of wood panel, butterflies, acrylics and bioresins. The artist, Kristina Grace, re...

"Deviation" Gyöngy Laky, apple, acrylic paint, screws, 30" x 60" x 2.5" (installed), 2020. This contemporary mixed media wall sculpture was done by San Fr...

Artist Statement by Rachelle Krieger: These new ceramic sculptural works are a reflection of biodiversity and vitality, capturing natural elements in various stages of life. During ...

The Redpath Mansion was built in 1886 for members of the Redpath family – wealthy industrialists who constructed the Lachine Canal and founded the sugar refinery that bears their name. This majestic house was erected in the fabled Golden Square Mile of Montreal. By the mid-20th century, it was one of the few remaining Queen Anne style homes in this city. The Sochaczevski family, purchased it in 1986 and within that year, obtained a license to demolish the building. Approximately 40% of the property was leveled. Organizations such as Heritage Montreal and Save Montreal obtained an injunction to suspend the execution of the license and the destruction of the mansion. It was temporarily saved. In 2014, the Mayor of Montreal, Denis Coderre, sided in favour of the Sochaczevski family, granting them the license to level the Redpath Mansion. In a statement to the media, when substantiating his reasoning, Denis Coderre said, “It was too dangerous, so I asked that we demolish the building.” The disappearance of the Redpath Mansion represented a great loss to Montreal’s architectural landscape. Organizations such as Heritage Montreal and Save Montreal, contended that it possessed immense cultural value; and during the course of almost three decades – 1986 to 2014 - struggled to save this rare Queen Anne style home from the wrecking ball. Albeit, the Sochaczevski family argued that it was old and unsafe, and that a restoration of the once stately home would be very costly. During the span marked by the first attempt at a demolition and the final decision by the mayor of Montreal (i.e. 1986 – 2014), The Redpath Mansion’s already dire condition worsened. It stood vacant and exposed to the elements. Nothing to upkeep the house was implemented, neither by the owners, or the city of Montreal; which ultimately compromised its structural viability. The events surrounding the Redpath Mansion, came to my attention in the summer of 2010. It was during a visit to Mount Sinai Hospital, in Montreal, where my father lay stricken by a terminal disease known as pulmonary fibrosis. I came upon a newspaper article in the Montreal Gazette. It described the Redpath Mansion case. I likened the decaying building with the final stages of my father’s life. The Redpath Mansion gained even greater significance for me when I went in person to the Golden Square Mile - in the city centre – and stood before it along Du Musée Street. I experienced it as a powerful metaphor for the transient nature of life. It also inspired thoughts related to generational ties, and how familial bonds act to influence and shape a person’s identity. The program of work I plan to undertake aims at building a scale model of the Redpath Mansion, as it appeared just before its demolition, in 2014. The physical height of this scale model is set at approximately 1 metre. I wish to place emphasis on the craft aspect, by creating a visual idiom based on details and decaying forms that allude to our connection to the past. For example, old pictures found among the rubble, scattered clothing and shoes, all of which are suggestive of a past ethos. I steer clear of political and social issues and aim to view this project with a more poetic lens, hoping to move the focus from societal problems to problems we face inside ourselves. The end result, or the finished piece would make a statement in a more introspective and emotional way, and show that the past weighs on the present, almost to the point of haunting. The viewer of the finished scale model will view it in the round, and in so doing perceive a definite narrative that addresses questions of identity, memory and loss. Ivan Markovic The Redpath Mansion, 2019 mixed media 37h x 20w x 24d in 93.98h x 50.80w x 60.96d cm IVM007 IVAN MARKOVIC was born in Montreal, Quebec in 1970. At an early age, he showed a natural propensity for drawing. At 15 years of age, he went to Paris, France to attend the Fine Arts school Creatione et Future. This experience allowed him to become a better draftsman and encouraged him to take his first steps in the art of oil painting. In 1994, he received a Bachelor of Fine Arts degree from Concordia University in Montreal. During his undergraduate degree he developed an interest for Art History and life drawing. After graduation, Ivan Markovic moved to Madrid, Spain to work at the Prado museum, where he made copies of Old Masters’ paintings, and developed an understanding for the materials and techniques of Spanish, Italian and Flemish art. He received a Master of Fine Arts degree from Bretton Hall College, University of Leeds, in the U.K. in 1997. His graduate work focused on large-scale paintings that alluded to baroque and neoclassical painting. In parallel, he pursued his other passion, teaching, by instructing a figure drawing course. Upon completing his MFA, he returned to Madrid to work as a practicing artist and art teacher for 13 years. During this time, he experimented with a diverse range of media. Of these, he was most captivated by sculpture. In 2010, he came back to his native Montreal, thus completing a formative cycle that has lasted 25 years. Currently, Ivan Markovic lives and works between Montreal, Chicago, and Madrid. He creates three-dimensional renditions of people facing situations of adversity, especially those that live on the fringe of society. His work has been featured in solo exhibitions in Canada, the United States and Europe, and is also on permanent display in privately owned collections of art. Ivan Markovic b. 1970, Montreal, Quebec Education 1997 Master of Fine Arts, Bretton Hall College, University of Leeds, England. 1994 Bachelor of Fine Arts, Concordia University, Montreal, Canada. 1986 Studies at the Fine Arts School, Création et Future, Paris, France. Selected Exhibitions 2020 Double Feature: Art Shay and Ivan Markovic, 2019, Gallery Victor Armendariz, Chicago, IL 2019 SOFA Chicago 2019, Navy Pier, Gallery Victor Armendariz, Chicago, IL 2018 SOFA Chicago 2018, Navy Pier, Gallery Victor Armendariz, Chicago, IL Art Market Hamptons, Gallery Victor Armendariz, Bridgehampton, NY Art On Paper, Gallery Victor Armendariz, New York, NY 2017 Art Toronto, Galerie D’Este, Toronto, Canada. SOFA Chicago, Navy Pier, Option Art, Chicago, IL Papier/10th Edition, Contemporary Art Fair of Works on Paper, Galerie D’Este, Mlt., Canada. 2016 SOFA Chicago, Navy Pier, Option Art, Chicago, U.S.A. 2016 Toronto International Art Fair, Galerie D’Este, Toronto, Canada. 2016 Beyond the Pale, Galerie D’Este, Montreal, Canada. 2014 On the Fringe, Galerie D’Este, Montreal, Canada. Love Art, Galerie D’Este, Toronto, Canada. Papier 14, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2013 Shades of Isolation, Galerie D’Este, Montreal, Canada. 2013 Toronto International Art Fair, Galerie D’Este, Toronto, Canada. Papier 13, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2012 Papier 12, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada. 2011 Papier 11, Contemporary Art Fair of Works on Paper, Galerie D’Este, Montreal, Canada 2004 Galería Francisco Duayer, Madrid, Spain. 2004 Fundación Cultural Mapfre Vida (Premio Penagos de Dibujo), Madrid, Spain. 2003 Centro Intergrado Arganzuela (Ayuntamento de Madrid), Madrid, Spain. 2003 Galería Francisco Duayer, Madrid, Spain. 2001 Galería Francisco Duayer, Madrid, Spain. 2000 Sala Goya, Círculo de Bellas Artes, Madrid, Spain. 1998 Instituto Cervantes, John Hancock Center...