Image (left): Ray Caesar Limited Box Set Edition of 50.
The highly anticipated release of limited edition box sets for the art collector just beginning and those already seasoned. Check out these must have box sets by Ray Caesar, Myron Zabol and Selena Wong. These museum quality art prints are presented in a beautiful cloth covered box that is hand bound.
Each box set will contain archival pigmented prints on bright white, archival, acid free, fine art paper. Al prints are hand signed and numbered by the artist.
Image (right): Selena Wong Limited Box Set Edition of 25.
The Ray Caesar box will contain a set of 6 prints individually signed – Edition size of 50. $2200 for Edition 6-9.
Artist Myron Zabol will be releasing two box sets one titled Paris Fin De Siècle and the other Les Jardins Sauvage. Each set will contain 15 prints individually signed – Edition size of 25. The first (5) boxes are $1875.
Artist Selena Wong box will contain a set of 10 prints individually signed – Edition size of 25. The first (5) boxes are $850.
The boxes measure 13 3/4″ x 10 3/4″ x 1 1/2″ and are made from archival acid free board covered in grey archival linen book cloth. The print size will vary for each artist. Each set will also contain a introductory note on Gallery House letterhead.
These very limited and exquisite sets are affordably priced starting from $850 and up depending on the artist you select and are perfect for both the seasoned and neophyte collector.
Guest Artist, Adam Giroux “LOCUS”
Written by Betty Ann Jordan
To divine a right course of action, there’s always the horoscope, the I Ching or Google. Or you can look more deeply inward to consider the extent to which thoughts and intentions shape individual destinies. Giroux psychologically fraught portraits stand out, illumining the notion that thoughts, especially negative ones, can become self-fulfilling prophecies. “Do you feel you can control the outcome of your life?” Giroux pointedly asks when he interviews the millennials whom he portrays in his allegories of transition. Curious about the impediments to personal advancement, Giroux is pursuing a larger agenda. “I’m looking at the ways we interact with our surroundings and the steps we take to create the realities around us,” he says.
As part of his process, he first interviews each subject in a darkened room. Engaging with people he knows or knows of, the artist begins by posing questions aimed at drawing out subtle emotional content. To capture telling body language or facial expressions, during the session he takes photographs and doodles or sketches. Once sitters start sharing their stories, he encourages them to go deeper. “Everything is okay,” tends to be their initial response, but under closer scrutiny, that reflexive answer turns into soul-searching along the lines of, “Am I going to continue doing what I’m doing now or should I change?”
“It’s therapeutic to explore emotional topics,” Giroux says, “and ultimately the ideas come from the sitters.” While he has no pretensions to being a counsellor, he does aspire to being a catalyst. When he’s not painting or working part-time for a marketing company, the 24-year-old London, Ontario artist is involved in activism, with animal rights and electoral reform being two issues that he sees as potentially affecting the world in a positive way. Roughly the same age as the people he paints, he asks himself the same things, namely “What is my individual identity?” and “How can we make the most of the time we have?”
Known for his uncannily realistic, oversized portraits, Giroux’s new paintings are nocturnal renderings of individuals constrained or bedevilled by their mental projections. At times these white, silhouetted “fixations” take the form of enveloping plants, chains or bindings, partially obscuring a face or entwining a figure. Most unsettling, however, are the amorphous ectoplasmic forms which the artist refers to as “burdens.”
The process of having one’s portrait painted is a two-way street. “My sitters get something out of it too,” Giroux says, but the outcomes are unpredictable. Sometimes people cry during their preliminary conversations or later when they eventually see the final painting. One couple who had broken up shortly before their sittings used the opportunity to come to the healing realization that they had been for some time heading in divergent directions. Another person saw more clearly the need to change jobs and benefitted soon after by doing so.
Among the tacit topics is depression. Says Giroux, “Certain ideas weigh upon everyone,” hence the presence of chains enmeshing certain figures. Flowers on the other hand evoke more mundane and ephemeral impediments to self-actualization. Included in one of his paintings is a cotton plant, ragged and past its prime. Decoding the symbolic language of growing things, the cotton plant is useful, homely and associated with comfort. Acknowledging the allure of the comfy, Giroux says, “At times comfort can constrain us from doing something risky or bold.”
There is also an erotic charge in the paintings, a by-product in part of the sitters’ hyper-awareness of displaying themselves. Not unexpectedly, their push towards personal growth often comes across as powerful or thwarted sexuality. Further cross-talk arises when the inter-related paintings are viewed in groupings, as seen in his Locus exhibition at Gallery House. While the sitters occupy their own locus of power, at the still quiet centre of things is Giroux. From that central perspective, he implies that change, while experienced individually, is best coped with in concert with others.
Gallery House Hours: Thurs, Fri & Sat 11:00 – 4:00 pm
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