The Gattuso Prize goes to Sandra Brewster for her exhibition
It’s all a blur… at Georgia Scherman Projects

The Gattuso Prize of $5,000 acknowledges an outstanding Featured Exhibition in CONTACT. The jury, Rosemary Heather (writer and curator) and Anique Jordan (executive director, Whippersnapper Gallery), based their decision on the caliber and concept of the work, the curatorial vision, and overall impact and presentation of the exhibition.

“With It’s all a blur… Sandra Brewster takes portraiture in a strongly metaphoric direction. Using a labour-intensive method, the artist creates tactile works suggestive of a number of ideas. While evoking the customary role of the photograph as memento, at the same time, these works appear to call forth the emerging subjects of history. The unavoidable scale, presence, and motion embedded in these still images command the attention of viewers to discover the details and traces left behind by the portrait participants.” – The Jury

The exhibition is on view at Georgia Scherman Projects (133 Tecumseth St) until June 24, 2017.

CONTACT's Featured Exhibitions, selected to be part of the Festival through a juried submission process, are organized independently by hosting venues, presenting organizations and exhibiting artists.

CONTACT gratefully acknowledges the generous support and contributions of La Fondation Emmanuelle Gattuso. The Foundation demonstrates strong leadership and influences innovation across all charitable sectors in Canada including health care, culture and the arts.

 


 

 

Sandra Brewster

It's all a blur...
Exhibition extended thru: Saturday, June 24, 2017
Blur 8, 2017, mural, photo-based gel transfer media, paper, installation based

Georgia Scherman Projects presents It's all a blur Sandra Brewster's first solo show with the gallery and a Featured Exhibition of Scotiabank CONTACT Photography Festival 2017.

It's all a blur... is a series of gestural portraits made with photo-based gel transfers. Brewster uses the medium as a metaphor for movement or change from one place to another, specifically in reference to the migration of her parents and their peers who left Guyana for Toronto in the late 1960s. Inspired by the preciousness of old photographs and their relationship to time and memory, the series mimics and somewhat exaggerates the physicality of those photographs by revealing the imperfections left by creases, tears, and folds.

Brewster is interested in how change, especially change of location, impacts identity. She relates this work to Dionne Brand’s writing, which explores the complexities involved in forming a sense of self, focusing on that same generation of Caribbeans arriving to Canada. They “come full of ourselves—who we were and are and will become.”

Sandra Brewster is a Toronto born visual artist creating work engaged in race, identity, representation and memory. She holds a BFA from York University and a Masters of Visual Studies from the University of Toronto. Her work has been published in Hyperallergic, Caribbean Beat, Of Note Magazine, The Walrus, Small Axe, Chimurenga Magazine, Mix Magazine and NKA Journal of Contemporary African Art. Exhibitions include UnIFixed Homelands, Aljira Contemporary Art Center, New Jersey; New Found Lands, Eastern Edge Gallery, St. John's, Newfoundland; blur, Franklin Gallery, Chicago; Performing Blackness I Performing Whiteness, Allegheny Art Galleries, Meadville, Pennsylvania; Mohammeds, Alice Yard, Port of Spain, Trinidad and Tobago; and 28 Days, Georgia Scherman Projects in Toronto. In 2017 her work was presenting as part of Position As Desired: Exploring African Canadian Identity, Photographs from the Wedge Collection (curated by Kenneth Montague) at the Art Gallery of Windsor, ON, Canada. Also this year, Brewster has held solo exhibitions: Assemblage, Never Apart Gallery, Montreal, QC, Canada, and A Trace | Evidence of time past, thesis exhibition, Art Museum, University of Toronto, ON, Canada. In 2017/18 Brewster will be in residency at the Sacatar Foundation, Brazil.

Sandra Brewster would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.