Light Switches and Text

Throughout the house, there are seventeen switch plates, all but two bear a single switch, these outliers feature three switches of relative similarity, and two identical ones respectively. The switches throughout the house might be categorized within one of two types, as distinguished by the size of the opening of their faceplates: either a large or small centralized vertical rectangle. The majority of the faceplates featuring larger rectangular openings hold rocker style switches. Every one of these switches was installed after our taking possession of the house; all of them can be found on the first floor of the house. There are two other switches that fit this type of faceplate. One vari

More Doors, and Tape

My assumption about this project was that it would lead to a sort of abstract portrait of the house that I currently occupy and from which I have drawn much of my recent imagery. What I think has occurred, at least so far, shares more with my paintings than I had anticipated. I think what I’ve produced amounts to kind of a very invested sketch, and a jumping off point that charted a logic through upcoming iterations in the same vein. What I didn’t anticipate (at least in part because I thought I would be able to write more in a short month) is that the project would contort so quickly - albeit out of necessity - into more of an interrupted series of observations. I had anticipated this to a

The Hallway

It’s funny to me that, before I had started my way across the bathroom, it seemed to me that there really wasn’t all that much on its walls. Here, standing in its doorway to a hallway on the second storey of our home, I find myself thinking the same thing about my immediate surroundings. There just doesn’t seem to be that much on the walls. We’ll see. *** To the immediate left of the bathroom door when facing the hall there are two light switches. The closer operates the bathroom lights and fan, while the farther controls the bedroom light. Both of these switches seem to have been installed rather haphazardly as the bathroom switch sits immediately beside the frame of the bathroom doorway, w

COLLECTORS ITEM: Sculpture by Robert Smithson

Currently on display at the Art Gallery of Ontario is Sculpture by Robert Smithson, a Gravel Mirror Corner Piece made by the artist in 1968. Robert Smithson was part of the Earthworks and Land art movements that followed minimalism and brought sculptures out of the gallery into the outside environment and vice versa. Known for his giant, ephemeral earth works such as Spiral Jetty (1970), Smithson also produced a series of works inside the gallery he called non-sites. Smithson often visited gravel pits and deserts to inform his practice, which acted as his "sites," and in moving materials from these locations into the gallery he was creating the "non-site." The use of mirrors and corners cre

Intermission (Doorway)

Having just written some fifteen hundred words and only just now approaching the exit of the first room of this expedition, I feel as though some changes to the structure of the project are in order, on the one hand to maintain a particular potential for interest, and on the other to make possible the conclusion of the project before the month’s end. From this point forward, I’m going to allow myself to edit; after all, making notes is often more about the salient tidbits than the punctuation (it’s just a little difficult when the notes are ostensibly about the punctuation). With that said, I feel that this first exercise highlights several important elements of the paintings that share thei

Sojung Kim

New York based artist Sojung Kim mesmerizes with abstract paintings that explore the body's emotional and physical reaction to colour and pattern. Using bright psychedelic colours, like magenta and yellow, Kim creates organic arrangements that read as vibrant optical illusions. These hypnotic patterns stimulate emotional responses in viewers, as Kim explores the effects subconscious forces in her work. Often resembling the inner workings of a living creature, such as intestines or cells under a microscope, the paintings create an immersive experience that is rooted both in the viewers body and mind and causes us to consider the parts that make up our own physiology. We admire the way these w

The Bathroom

It has just occurred to me that, as I’ve decided to begin this odd little tour through my home in the bathroom, I haven’t clearly charted a path that will lead me logically, horizontally across the verticality of the house that I hope to describe. I’ve decided the point of departure somewhat arbitrarily - or at least serendipitously - and I imagine that as I find myself at its doorway something of interest will likely guide me down the halls and into the next room. This seems simple enough for now. As for the finish line, I think it fitting that I end up in the studio - which is also located within the house (as it happens, it is situated directly under the bathroom). I feel as though most o

Gisela Navarro

Gisela Navarro is a London based illustrator and graphic designer that creates beautiful designs celebrating the expression and identity of women. Using a pleasant combination of pastel colours and organic shapes, Navarro creates aesthetically pleasing works that are simple but extremely effective. She depicts women with broad shoulders and strong legs, figures that take up space in her utopic land. With their free flowing bodies, these women become one with their captivating landscape. Her palette creates a sunset wash over wash work, allowing each scene to depict an eternal golden hour. These works are amazing combinations of simplified figure, colour and landscape, culminating into an app


The first issue that I encounter with this project (the only one so far, but I imagine that there will be more) is that of its origin. If the coming series of posts is to in one way provide a sort of tour of the environment from which I draw much of the imagery that is represented in my paintings, the first question is where to begin, and there are several places to consider: The front door. As this exercise is confined to the boundaries of my home, one logical point of departure is its entrance. An issue arises though as there really isn’t a primary entrance to the house. Our home has two entrances. They are both on the same side of the house, which incidentally is on the side of the proper

A New Project

I’ve been thinking about the possible avenues I might entertain to fulfil the requirements of my short occupancy in this space. At first, I had planned to create a series of entries that focused on various aspects and directions of my recent work, and hopefully in doing so offer it some meaningful insight. I would allow myself the opportunity to digress and to indulge in tangents and anecdotes that might supplement the few images I would provide over the course of the month. I might still end up doing this - however, I feel that simply writing about my work is fairly limited. One aspect that I consider to be important to the paintings that I make is that they exist as a body. With the work t

Matthew Mahler

Matthew Mahler explores the process of abstract painting as a repeatable, instructional-able methodology in works that carry our eyes around, through and off the surface of the canvas. In his most recent body of work, Mahler loosely uses instructions found on the internet, specifically wikihow, describing how to make an abstract painting in a step-by-step format that we can imagine as almost humorously simple. Working within these constraints, he uses tape and thick layers of paint to understand and break down the processes of creating his works. Mahler paints on burlap due to its accessibility, both physically economic, which gives each surface an inherent texture and relates back to his in

Slowly, Stupidly

I make paintings that focus on the periphery and paraphernalia of daily life. Broadly speaking, my paintings draw from my surroundings, an individual quotidian. This is of course my situation, but I hope that the work can exist - at least in part - outside of a particular identity, open to the associative power of the viewer. That said, I’ve recently been playing more liberally with these boundaries - introducing more evidence of intervention, construction, and play within and across the work - in the hopes of generating new visual connections and associations, and building narrative potentials beyond documentary notation. Paramount for me is a process of notation that defers associations of


Hello! My name is Jean-Luc Lindsay, I’m a painter from Toronto, Ontario. I’d like to thank The Gathered Gallery for granting me this platform. I'm excited to explore the possibilities that this sort of project can offer while hopefully sharing something insightful - or at least supplemental - to the body of work that I've been building for the past little while. I hope to keep my posts over the coming weeks somewhat informal. I plan on sharing some of my thoughts about the things that currently surround the work, and hopefully offer some avenues into it in a meaningful way. Look forward to more very soon. #AIRF19 #artblog