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‘THE MASTERS TOOLS’ montreal
‘THE MASTERS TOOLS’ montreal
Upon exiting the elevator, one is met with an abundantly lit at
Upon exiting the elevator, one is met with an abundantly lit atrium space. This atrium opens up to an igloo-like entrance with white geometric wall slats, which form a non-orthogonal relationship to the floor or ceiling, and which are fragmented and shoot upwards. The entrance appears to absorb the general motif of an igloo, but is expressed in a postmodern rendering of discontinuous form. As one enters the space, the abundance of light sharply contrasts with the dim, dark-walled interior of the small exhibition space. The works are arranged in glass boxes along the walls, with rows that diagonally intersect across the floor space. The display cases are vaguely reminiscent of early anthropological display cases which seem at odds with the contemporaneity the curators seem to be striving for, yet also practical given the predominance of sculpture. The space contains mostly mid-twentieth century sculpture save for a few “contemporary” prints from the seventies by Inuit artists Fanny Arngnakik Arnasungaaq (1929-2000), and Maggie Kaitanak (b. 1948). The only contemporaneous works are a few prints by Inuit artist, Jutai Toonoo (1959-2015) and a dramatic new sculpture of a Sedna likeness by the Canadian artist, Shary Boyle (b. 1972).
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