Tony Scherman

Jocaste - Séduction d'Œdipe (alias "Jocaste bleue")

2003

Joanne Tod (b.1953) is a renowned Canadian artist and a master of figurative painting, on the same level of mastery as Alex Colville and Christopher Pratt. Tod has depicted a wide range of subjects throughout her illustrious career. The human figure, pattern, and interiors have been reoccurring and essential elements of Tod's oeuvre. Though interiors have been a mainstay throughout Tod’s career, her representation of both public and residential scenes is part of a constant evolution inspired by her innate desire to experiment and stretch the possibility for imagining pictorial spaces. While working with a range of techniques and subject matter, Tod’s interiors all share a unique sense of familiarity, calling on varying visceral responses from the viewer. “The Screen” depicts the renowned Henry Moore Sculpture Centre, an iconic and internationally acclaimed permanent exhibition at the Art Gallery of Ontario. Showcasing Tod's delicate, deliberate hand, the cumulation of soft strokes in this piece join together to render a gentle realism, the cornerstone of her aesthetic. From a contemporary vantage point, it is easy to assume that Tod was engaging in an early form of institutional critique. Why is does the most prominent museum in Ontario devout such significant real estate to a British artist who has almost no connection to Toronto. For Tod, the 1200 sq foot gallery was a symbol of the complexities of Modernism, both locally and beyond. Tod recalls a series of milestones in Toronto that she considered; the city's futuristic city hall designed by Viljo Revell completed in 1965, the unveiling of the Henry Moore gallery at the AGO in 1974 and its ongoing redesign / expansion that lasted until 1977. The aesthetics of both large and small forms, whether in architecture, interiors or in sculpture itself, fuse mid-century simplicity with the Brutalism of the mid 70's. The visual elements and civic accomplishments are contrasted with the Moore sculpture in the left corner. Tod had always interpretted this Moore work as an depiction of a mushroom cloud...

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