David Kaye Gallery » Rebecca Anweiler

Passing Through
April 7 - 30, 2017
Meet the artist: Saturday, April 8, 2:00 - 4:00 p.m.

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The source imagery for this series was a sequence of un-composed photos I took as a back-seat passenger on a family road trip in St. John’s, Newfoundland in the Summer of 2015. We travelled extensively in this way so my sister could see the landscape she had limited access to in her wheelchair. On this drive through the rain, drizzle and fog-soaked landscape from Cape Spear down into the city’s harbour, a non-majestic view flashed by with limited distinctions in a blue- and green-grey palette.
This work reflects on both still photography and landscape painting in a day and age when our only relationship to much of what we see is the view from a moving vehicle or screen. Short tough Spruce skids by in blurry images from the countryside as it transforms though more and more development heading into the city. Soon the beginnings of human construction and consumption appear and the edge of suburban interventions starts to dispel the greenery. Finally, warehouses for storage of all that comes through the busy port unfold before docks, ships and cranes come to dominate the view.
With a nod to the diffuse and contemplative landscapes of Gerhardt Richter and early April Gornik, this series is about how paintings allow the opportunity to slow down – and where movement, change and letting go in relation to an experience of the environment, and life, is still beautiful when shrouded in rain, drizzle, and fog.

GALLERY

Rebecca Anweiler, Passing Through, Sequence #1, 2016, oil on linen, 20 X 62 in., ON HOLD.Rebecca Anweiler, Passing Through, Sequence #2, 2016, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #3, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Rebecca Anweiler, Passing Through, Sequence #4, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Passing Through, Sequence #5, 2016, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #6, 2016, oil on linen, 20 X 62 in.Rebecca Anweiler, Passing Through, Sequence #7, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Passing Through, Sequence #8, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Passing Through, Sequence #9, 2017, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #10, 2016, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #11, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Passing Through, Sequence #12, 2016, oil on linen, 20 X 62 in.Rebecca Anweiler, Passing Through, Sequence #13, 2016, oil on linen, 20 X 44 in.Rebecca Anweiler, Passing Through, Sequence #14, 2016, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #15, 2016, oil on linen, 20 X 62 in.Rebecca Anweiler, Passing Through, Sequence #16, 2016, oil on linen, 20 X 26 in.Rebecca Anweiler, Passing Through, Sequence #17, 2016, oil on linen, 20 X 62 in.Rebecca Anweiler, Passing Through, Sequence #18, 2017, oil on linen, 20 X 26 in.

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I Wish You Were Here: new paintings
February 2 - 26, 2012

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I Wish You Were Here

My last body of work, Manifestations of a Different Nature, brought together both the mystery of nature and the ecological crises of our times. I still struggle to contain both of these realities - the beauty, magic and spirituality of the natural world, with the truth of its rapid decline due to the lack of sustainability of our materialistic ways. Pain and despair, waste and destruction, fear and greed all seem to drive us on towards collapse.

I’ve started painting landscapes; picture-perfect landscapes, iconic images of Canada from coffee table books and postcards. They disclose nothing of the true shape and condition of our country and the people living in it. There are no dams, no oil sands, no images of poverty, no clear-cuts, no forest fires, no landfills, no droughts, no skyline of exhaust fumes, no extinctions, no mining, no oil spills, no human rights abuses, no pilfering of land, no nuclear plants, no imposed economic dependency and colonization, no damaging agricultural practices, no economic crises, no nuclear stockpiles, no wars; just pretty pictures of places to visit across our lovely country; if we could afford the gas and its nasty footprint.

With a nod to the Group of Seven, this work is about seeing paradise and nothing else. Maybe it’s just a longing for denial, or to take a break from being critical. Look how beautiful it is, or was, at least 40 or more years ago. Unfortunately nature already was an endangered species confined to museums, parks and shrinking ‘wilderness areas’ at that time. There aren’t too many people talking about what’s happening to our world. I can’t stop thinking about it myself.

I wish you were here.
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R.M. VAUGHAN
The Globe and Mail
Saturday, February 11, 2012
Globe Arts, page R6

Rebecca Anweiler at David Kaye Gallery
Until Feb. 26, 1092 Queen St. W., Toronto

Anweiler’s new nature landscapes present an idyllic Canada, one that we can, increasingly, only view through a creative lens. Despite their forthright prettiness, however, Anweiler’s aggressive, choppy brushstrokes convey a marked rage.

GALLERY

Rebecca Anweiler, Untitled #1, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #2, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #3, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #5, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #6, 2011, oil and graphite on canvas, 8 X 10 in., SOLD.Rebecca Anweiler, Untitled #7, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #8, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #9, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #10, 2011, oil and graphite on canvas, 10 X 8 in.Rebecca Anweiler, Untitled #11, 2011, oil and graphite on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #13, 2011, oil and graphite on canvas, 5 X 7 in.Rebecca Anweiler, Untitled #18, 2011, oil and graphite on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #19, 2011, oil on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #22, 2011, oil and graphite on canvas, 5 X 7 in.Rebecca Anweiler, Untitled #23, 2011, oil on canvas, 5 X 7 in., SOLD.Rebecca Anweiler, Untitled #24, 2011, oil on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #25, 2011, oil on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #26, 2011, oil on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #27, 2011, oil on canvas, 5 X 7 in., SOLD.Rebecca Anweiler, Untitled #28, 2011, oil on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #29, 2011, oil on canvas, 5 X 7 in., SOLD.Rebecca Anweiler, Untitled #30, 2011, oil on canvas, 5 X 7 in.Rebecca Anweiler, Untitled #31, 2011, oil and graphite on canvas, 8 X 10 in.Rebecca Anweiler, Untitled #32, 2011, oil and graphite on canvas, 8 X 10 in.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.Rebecca Anweiler, I Wish You Were Here: new paintings, Exhibition installation view.

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Manifestations of a Different Nature: recent painting
November 27 - December 21, 2008

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Manifestations of a Different Nature

Storm birds are believed by the aboriginal peoples of different continents to foreshadow coming storms by their calls or behaviour. There are many eyewitness accounts of birds and animals migrating before seismic waves, earthquakes and volcanic eruptions, thereby remaining unharmed by these catastrophic events. Western science does not accept the idea of a ’sixth sense’, believing instead that animals and birds have more highly developed, but known, sensory perceptions that pick up vibrations or changes in atmospheric pressure or magnetic fields to foretell coming catastrophes in a way that humans are not able to. Nonetheless, they remain unable to explain within the framework of known forms of communication the everyday extraordinary behaviour of starlings in synchronized flight.

Much of my work has involved subverting scientific bias and exposing the limitations of that field to acknowledge or incorporate research that requires a reinvention or major overhaul of existing theory. Fortunately, we may be on the edge of great advances in scientific enquiry; seeing more and more challenge to the mechanistic and staunchly objective worldview that has removed the heart and soul from the universe, while supporting heretofore unexplainable phenomenon. Manifestations of a Different Nature evolved from an exploration into radically new views of reality that establish the paranormal as part of nature. Science and the mystical are moving closer together through advances in research into both quantum physics and parapsychology, and I am interested in the intersections where their weavings meet.

My wonder at rare experiences and terrifying acts are the defining qualities of historic attempts to paint both the horror and harmony of the visual experience of nature. Manifestations of a Different Nature marvels at some of the terrifying and profound mysteries that make up life through the exploration of imagery of both man-made and natural creations and destructions. Referencing contemporary meteorological events, the state of the environment, and the evolution of our interface with nature, these paintings represent an attempt at groping with the sublime in our times.

GALLERY

Rebecca Anweiler, Storm Bird I, 2008, oil on canvas, 6 panels, 24 X 30 in. overallRebecca Anweiler, Storm Bird II, 2008, oil on canvas, 2 panels, 35 X 48 in. overallRebecca Anweiler, Storm Bird III, 2008, oil on canvas, 6 panels, 24 X 30 in. overallRebecca Anweiler, Storm Bird IV, 2008, oil on canvas, 2 panels, 35 X 48 in. overallRebecca Anweiler, Storm Bird V, 2008, oil on canvas, 6 panels, 24 X 30 in. overallRebecca Anweiler, Untitled #1, 2007, oil on canvas, 2 panels, 12 X 20 in. overall, SOLD.Rebecca Anweiler, Untitled #2, 2007, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #3, 2007, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #4, 2007/08, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #5, 2007/08, oil on canvas, 2 panels, 12 X 20 in. overall, SOLD.Rebecca Anweiler, Untitled #6, 2008, oil on canvas, 2 panels, 12 X 20 in. overall, SOLD.Rebecca Anweiler, Untitled #7, 2007/08, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #8, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #9, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #10, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #11, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #12, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #13, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #14, 2008, oil on canvas, 2 panels, 12 X 20 in. overall, SOLD.Rebecca Anweiler, Untitled #15, 2008, oil on canvas, 2 panels, 12 X 20 in. overallRebecca Anweiler, Untitled #16, 2008, oil on canvas, 2 panels, 12 X 20 in. overall, SOLD.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.Rebecca Anweiler, Manifestations of a Different Nature, Exhibition installation view.