Juliet Di Carlo
365 pieces of birthday cake
Sponge cake, sliced
Edition of 365
‘365 pieces of birthday cake’ is about identifying the elements that make up a bigger thing. Around the time of the artist’s 16th birthday she was considering everything that had happened in the past year and what the outcomes had been. This work is a representation of the 365 days that makes anyone one year older on their birthday. Each slice is defined by a cut, then given away to others to be consumed. Through another lens, the cake is the artist. The artist, and her work, are cut up into pieces that are distributed. This is a free edition which was distributed on the launch of Hektor Projects at the Collector Preview of 3/edition Toronto on October 25, 2018, each cake plate was individual numbered and hand signed by the artist.
Juliet Di Carlo is an artist currently practising in Toronto. She works in a variety of different mediums including sculpture and installation, exploring object permanence and relational aesthetics. Di Carlo has shown in Toronto and New York City and is currently studying Contemporary Art at Etobicoke School of the Arts.
How to Build a House
Perfect bound softcover & Linen wrapped hardcover versions, 264 pages
Paperback: open edition
Hardcover: open edition
Special Edition: Edition of 12
“A house falls apart. A child learns the meaning of windows. A family silently wrestles a disappearing closeness. A childhood unknowingly sits in the palms of the man next door.”
How to Build a House follows a childhood in its last twelve hours. In the crooked language of a household, the novel tracks the slight displacements of existence which cause these hours to differ from all others. The fragments of a man, the quiet remnants of parents and the slivers of memory are delicately assembled as the child makes her way through time.
Luca Soldovieri is an artist and writer based in Toronto, Ontario. Soldovieri’s work functions as an embodiment of time, both as a means of scale and as a means for existence. Her practise is rooted in materials which can be considered translations of time and it finds clarity in the quality in which the universe itself expresses time, and in the shape it has taken in her own history. Soldovieri is currently studying at Etobicoke School of the Arts and writes for the Magenta Foundation’s Flash Forward Flash Back. Soldovieri has exhibited across Ontario, including exhibitions at Stephen Bulger Gallery (Toronto), United Contemporary (Toronto), Side Door Gallery (Georgetown), and Les Enfants Terribles (Toronto). Recently, she wrote the exhibition text for Les Enfants Terribles’ CONTACT Photography Festival exhibition Refraction and she is releasing her first novel How to Build a House with Hektor Projects in Fall 2018.
Cast resin and acrylic, 2018
Edition of 10
While the creation of multiples through the process of moulding and casting forms the foundation of Laura Hudspith’s installation-based practice, works in series or edition are uncommon. Thus, new work by the artist titled Amarus Ends, responds to the theme of 3/e Editions Toronto in the creation of a sculptural still life that separates into an edition of ten, each object compositionally unique. Hudspith’s 2018 stilled work carries the same duality that marks the genre’s history, both subversive and indifferent.
Strewn haphazardly across a mirrored plane lays the remnants of an extravagant meal left to fester. An assortment of emptied oysters sit piled, their little spills and dribbles marking the surface below. The entrée’s exhausted accoutrements dot the scene. Lemon wedges, pinched rinds and tiny utensils are scattered about; a drunk cocktail stands as tall as the mound, another, broken and spilling its dregs into the array; cigarettes, butted out post-meal into the husks. A small pile of maraschino stems from a manhattan overstuffed, provides a clue towards the title of the work. Each object makes its materiality known–clear resin derived from the pressure of millennia–oysters cast in wretched permanence see their reflection below in refracted light.
Laura Hudspith (b. 1990, Toronto) is an interdisciplinary artist working in sculpture, installation and video. Her work attempts to parse the wider impact of a culture deeply entwined with both simulation and excess. Moulded and cast objects represent the use of semiotic language, in play with the associations inherent to commonplace objects and those carried between them. Whether used performatively in video works or accumulated in sculptural assemblages, objects articulated in silicone, resin, glycerine, plaster or cement, speak to the allure of simulation and emulate contemporaneity both aesthetically and ideologically. With an interest in merging civic conviction with artistic intent, curious arrangements and seductive visuals give way to inquiry of an equally personal and political nature, both provocative and antidotal.
Hudspith graduated with a BFA from Concordia University, Montreal, and was the recipient of the Irene F. Whittome Prize in Studio Arts. She has exhibited her work and participated in residencies in both Canada and the United States, notably with solo exhibitions at This Month Only, Toronto; Project Gallery, Toronto; group exhibitions at Katzman Contemporary, and Interaccess, Toronto; and such residencies as Wreck City, Calgary; and the Red Lodge Clay Center, Montana.
Graphite Erasers, Multiple of 10
Powdered graphite & rubber erasers.
Each 2.5" x 1.0 " x 0.5", 2018.
The tools will deteriorate if one attempts to give purpose to them. Graphite Erasers can neither create marks nor fix mistakes. The sculptures hold both opposing processes in a delicate harmony of being. They exist for the reason of existing, a simplified version containing within them complexities of living.
Rachel Burns’ multimedia work extends to photography, drawing, painting, sculpture, and video. Her first solo exhibition ‘Until Now’ at General Hardware Contemporary (Toronto) was a featured exhibition in the Scotiabank Contact Photography Festival and a Canadian Art Magazine Must See Show. Recent group exhibitions include: Art Prize at Saatchi Gallery (UK), Flash Forward Incubator exhibition at Gardiner Museum (Toronto), Viewpoint at Albright-Knox Art Gallery (Buffalo, NY) and Ingrown at Artspace (Peterborough).
Burns’ work has been published in The Trinity Review (University of Toronto) and the Flash Forward Incubator catalogue (Magenta Foundation). She has been awarded for her writing, poetry and digital art from Scholastic Arts and Writing Awards (New York). Rachel Burns has been acknowledged for her achievements by The Globe and Mail, CTV News, Global News, Akimbo TV, Yahoo, CBC Arts, Magenta Foundation, Neomemoire and The United Way Foundation. Burns’ work is included in many private collections internationally and noteworthy corporate collections such as SP Wealth and BMO Financial Group. Burns lives and works in Toronto, is a graduate of Etobicoke School of the Arts, and currently attends OCAD University.
take me with you before you go
Saddle stitched artist book
‘take me with you before you go’, a recent artist book by Brody Weaver, explores the mediation and transmission of affect between digital and lived space. Formally, the work is comprised of personally retrieved, printed screen shots from various video messaging platforms that are embedded into sheets of semi-opaque mylar. Double sided, the paper becomes a substrate for both representation and reflection. The work lingers, obsesses, and is tainted with a perverse need to capture: to record, to keep, to archive that which is out of reach. Appropriating the language of digital communications, the work asks how these spatial modes of communication stand in and replace a lived experience that is not less than material, but different; pixels, buffers, and lagging screens stand in place for emotional resonance that probe and interrogate anxieties of loss and translation; “I remember waking up here in the morning, beside you, the sun and the light, always trying to reach out and touch it - did I ever?”.
Brody Weaver is a young artist and writer currently living and studying in Halifax, Nova Scotia. Working primarily in text, book making, installation and expanded sculpture, his work functions though the use and misuse of personal, material, cultural, and social artefacts. Exploring our points of contact with the past, Brody’s work is intimately concerned with history, personal archive, memory, and factors of intersubjectivity and intertextuality that pervade human relations. He has been recognized by the Scholastic Art and Writing Awards, an international program dedicated to to recognizing and rewarding distinguished young artists, for both his written and visual work. In 2017, Brody was awarded participation in the Satellite Award Exhibition, a survey show of the most prominent graduates from the four visual art programs in London, Ontario and has recently had bookwork represented at MoMA PS1. Currently attending the Nova Scotia College of Art and Design University as a distinguished Creative Innovator of Tomorrow, he is pursuing an undergraduate degree in interdisciplinary studies.
Single Use Hammer
Cast gypsum cement
“Single Use Hammer” contrasts the fragility of its material with the inherent strength of the object it forms. This juxtaposition represents the artist’s willingness to challenge her own mental and physical capacity while bearing the knowledge of her own fragility. The process of making the hammers allowed the artist to realize that she didn’t have to shatter as her hammers had. Instead, with the help of this piece, she chose to accept the flaws and imperfections she was ashamed of. Through making this piece, she was able to let go of the fear and self-resentment she had and begin to love herself again.
Alexis Vo is a Toronto-based artist who recently graduated from the Contemporary Art program at Etobicoke School of the Arts. She uses materials such as rust, stone, and plaster to help her come to terms with the traumas; of her past, her families past and her nation's past. Through these processes, she has learned to let go and accept these traumas. She has learned that she can no longer fear the past and not does need to worry about the future, instead, she accepts that it is going to be ok.
In response to the selection of consumer electronics company Samsung as one of Art Toronto’s leading sponsors, this series comments on the linkages between algorithmic expression, phone- based communication, and the internalization of hegemonic power through “trivial” means. The text featured in these laser-cuts is taken from Oppel’s phone’s predictive text algorithm, a feature that recommends words or expressions to a user as they type, based on commonly used phrases. Cliché idioms such as “u still up?” appear in the hopes that the viewer will consider to what degree our self-actualization is prescriptive. The Samsung logo itself also factors into the series, alongside images gleaned from targeted advertisements, as a texture applied to the pieces in gel transfers. The laser-cuts are done on tinted and mirrored acrylic plastic, mimicking the texture and ephemerality of a phone screen. These laser-cut pieces are heat bent, imprinting them with a physical, bodily trace. Hung on chains to resemble trendy accessories, worn for clout, the series considers to what degree our digital personas are algorithmic, and the insidious implications predictive text and targeted advertisements have on our bodies.
Sophia Oppel is an arts practitioner based in Toronto, Ontario. Oppel’s work addresses the position of insidious, hegemonic power embedded in networked existence and its manifestations in embodied experience. Oppel’s practice is based in digital media and interactive installations; employing algorithms, web applications, software pre-sets and the viewer’s body as subject matter, she attempts to deconstruct the implicit assumptions imposed upon users. Oppel has exhibited throughout Ontario, including shows at Bunker 2 Contemporary Art Container, Forest City Gallery, 156 Studio Projects and XPACE Cultural Centre, and is an alumni of Roundtable Residency.
Etching, 14K Kanazawa gold leaf on paper
Purgatory Lobby is the second installment in the Goblin Passing series of etchings, created through a mix of traditional etching, collage and contemporary photo-intaglio techniques. These pieces seek to distill terrestrial, everyday scenes that have been saturated just for a passing moment, by a cosmic foreign presence. The characters are depicted as players in a dramatic narrative that is both familiar and foreign; theatrical and honest. By blurring the boundaries between polar concepts on which we have built our world, and complicating the idea of the linear narrative, one may find clarity through the chaos. These fleeting collisions of universes give voyeuristic glimpses into a space that challenges the perception that the real and the unreal are two distinctly separate entities, and suggests that they are instead a circular structure with each feeding and bleeding into the other.
Toko Hosoya is a multi-disciplinary creator who works primarily with narratives. As a Japanese-born Canadian, she is fascinated by the forces that sustain our reality construction, as well as the relationship between stories or histories and the real world they profess to represent. In making sense of the world, there can often be a need to experience the concordance of a beginning, middle and end, which is the essence of our explanatory narratives, but such fictions can degenerate into myths whenever they are not consciously held to be fictive. Drawing from images of theatre, fantasy and documentary, Toko weaves together universes in a rigorously detailed manner through works on paper, sculpture, and moving images that invite the viewer to consider the extent to which the unreal is woven into their reality. These peepholes into her imagined universes tantalize viewers with scenes that often contain curious expanses of wilderness and humor but not without the possibility of hurt, of real danger. Be it the encroachment of a seemingly benevolent mushroom on a human face, or a bat-like intruder on an otherwise mundane moment, the works find a delicate balance in a space both familiar and alien. Although she is still completing her studies at OCAD University, Toko’s works have garnered recognition and accolades from the Society of Illustrators, Applied Arts, 3x3 and more. Between composing collections of images and universes surrounding them, Toko keeps herself occupied as a designer with her own textiles collective.