2024
14” x 11” (Unframed)
14.5” x 11.6” (Framed)
Lenticular Print
Edition of 15
“This summer at the artist residency in Annandale, PEI, I photographed clusters of oysters washed ashore at low tide. I was unaware that oysters form these elegant clusters. They look very different than when prepared as food items. The clusters seem like eclectic vases, like ruffled costumes – with barnacles as bling. The lenticular effect was added to the photo later in digital post production. It brings out the otherworldly, sculptural quality of the oysters and adds a shifty perspective. There’s a sobering and alarming side to this image: A fisherman in Annandale informed us that this year, for the first time ever, local oysters and oysters all over PEI had been infected by the parasite MSX. It is of big concern as the parasite kills the oysters. The spread of MSX is believed to be a consequence of climate warming.”
All of our 2024 Silver Editions are also available as a package at $3000 (unframed)/$4825 (framed). To purchase the 2024 Silver Editions Package or to inquire about framing options, please contact info@gallerytpw.ca.
ABOUT THE ARTIST
Oliver Husain is an artist and filmmaker based in Toronto. His projects are often collaborations with other artists and friends, and often begin with a fragment of history, a rumour, a personal encounter, or a distant memory. He uses a wide range of cinematic languages, technical experiments, and visual pleasures—such as dance, puppetry, costumes, special effects—to animate his research and fold viewers into complex narrative set-ups. Recent projects include TheBeauties of Lucknow, a site-specific installation commissioned by Massey College and DNCB (with Kerstin Schroedinger) at GTA24 (moca Toronto) and Scientia Sexualis (ICA Los Angeles, upcoming). Information on his work can be found on husain.de. His work is represented by gallery Susan Hobbs.
Silver Editions 2024
2024
48″ x 36″ (Full Print)
31″ x 24.75″ (Framed)
Double-sided inkjet print on Kozuke White Heavy
Edition of 30 | Silver Editions Community Fund Print
Part of a series of photo-collages (2021-ongoing), this double-sided print presents an imaginary vignette composed of elements from continually evolving sources. Grounded in a formal engagement with digital and post-digital technologies, the work reflects on landscape as a poetic container for questions around archives, preservation, and cultural erasure. In this rendition, the idea of home is addressed with a hesitation towards specificity. As a nondescript, yet discernible expanse of land unfolds in a distorted and pixelated rendering, the image is never fully revealed, but rather, emerges incrementally.
All of our 2024 Silver Editions are also available as a package at $3000 (unframed)/$4825 (framed). TTo purchase the 2024 Silver Editions Package or to inquire about framing, please contact info@gallerytpw.ca.
ABOUT THE ARTIST
Nour Bishouty is a multidisciplinary artist working across video, sculpture, works on paper, digital images, and writing. Broadly concerned with gaps in archival memory and the Western production of knowledge and fantasy, her practice explores notions of permission and articulation in cultural narratives overwritten by dispossession and displacement. Her work has been exhibited internationally including at La biennale de Québec, Quebec City, CA; Art Jameel, Jeddah, SA; Cooper Cole, Gallery 44, and the Museum of Contemporary Art, Toronto, CA; Darat Al Funun, Amman JO; Casa Arabe, Madrid, SP; Access Gallery, Vancouver, CA; the Mosaic Rooms, London, UK; and the Beirut Art Centre, Beirut, LB. She holds a MFA from the University of Massachusetts, and a BFA from the University of Jordan, and was a participant at the Home Workspace Program at Ashkal Alwan in Beirut.
ARTIST PRINT INSTRUCTIONS
An extent of space to stretch the body (2024) is a double-sided print that can be folded, rolled or manipulated, allowing different aspects of each print to engage with the other side.
2024
12″ x 16″ (Unframed)
15.75” x 19.5” (Framed)
Cyanotype
Edition of 15
Exposed in Secwepemculecw under the afternoon sun, rinsed with well water and exposed with pine needles , fir needles, fireweed and mountain lupine leaves. I work with cyanotype as a process of collaboration with light on land in my home territory and am interested in working in ecologies with land, art, language, culture and community. I live on Neskonlith Indian Reserve at the forest’s edge and work with rez and rural geographies which I call the BUSH and Bush Gallery.
All of our 2024 Silver Editions are also available as a package at $3000 (unframed)/$4825 (framed). To purchase the 2024 Silver Editions Package or to inquire about framing, please contact info@gallerytpw.ca.
ABOUT THE ARTIST
Tania Willard is a mixed Secwépemc and settler artist whose research intersects with land-based art practices. Her practice activates connection to land, culture, and family, centering art as an Indigenous resurgent act, though collaborative projects such as BUSH Gallery and support of language revitalization in Secwépemc communities. Her artistic and curatorial work includes Beat Nation: Art, Hip Hop and Aboriginal Culture at the Vancouver Art Gallery (2012-2014) and Exposure: Native Art and Political Ecology at the IAIA Museum of Contemporary Native Arts, Santa Fe (ongoing). Willard’s work is included in the collections of the Vancouver Art Gallery, Forge Project NY, Kamloops Art Gallery, Belkin gallery and the Anchorage Museum, among others. In 2016, she received the Hnatyshyn Foundation’s Award for Curatorial Excellence in Contemporary Art. In 2020, the Shadbolt Foundation awarded her their VIVA Award for outstanding achievement and commitment in her art practice, and in 2022 she was named a Forge Project Fellow for her land-based, community-engaged artistic practice. In 2023 BUSH Gallery was named as a Future Studies recipient from Ruth Foundation for the Arts. Willard is an Assistant Professor in the Faculty of Creative and Critical Studies at UBC Okanagan in Syilx territories.
2024
8” x 10” (Each Print, Unframed)
18.75” x 25.5” (Framed)
Inkjet on Canson Baryta Photographique (Diptych)
Edition of 15
This diptych was created during a dark and transformative period of my life, in the winter of my first experience living alone and being single. Each image reflects the internal space I inhabited at that time, marked by long stretches indoors and an overwhelming anxiety about engaging with the outside world, often reduced to gazing out of my window. The images emerged from one of those moments of isolation, and it feels fitting that their abstract yet defined imagery represents the complexity of my emotional state.
All of our 2024 Silver Editions are also available as a package at $3000 (unframed)/$4825 (framed). To purchase the 2024 Silver Editions Package or to inquire about framing, please contact info@gallerytpw.ca.
ABOUT THE ARTIST
Wynne Neilly is an award-winning photographer working out of Tkaronto/Toronto. Internationally celebrated for his monumental cover of TIME Magazine featuring Elliot Page (2021), Wynne was also the recipient of Scotia Bank’s New Generation Photography Award (2023).
Wynne’s artistic practice draws on his experiences as a queer and trans person, investigating these identities on an individual level as well as relationally within his community. His work often explores how we read and interpret intimacy—both through the subject matter itself (portraits or observations), and his gaze as the image maker.
Silver Editions Archive
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2021
12.5 x 17.5 inches
Edition of 15, 2 APs
Steven Beckly’s sensual practice encompasses photography, sculpture and artist books. Forming a spectrum of colours, textures and shapes, Beckly’s evocative images draw on the interaction of light with a multitude of surfaces and mediums.
In Saliva Lining, effervescent soap suds bubble against a prismatic backdrop, creating wet, filmy layers of circles within circles. Printed on glossy transparency, it reflects and refracts light, taking on the changing conditions of its immediate environment. Marking each image with his saliva, Beckly adds an intimate signature, leaving a genetic, ghostly trace unique to each edition.
ABOUT STEVEN BECKLY
Steven Beckly is a Chinese-Canadian artist based in Tkaronto/Toronto. Creating intimate encounters with images and objects, Beckly works with photography, sculpture and installation. Recent solo projects include, The heart can’t wait at Daniel Faria Gallery, (Toronto); Lightbringer at Stride Gallery (Calgary); and Love S.O.S. at Centre3 (Hamilton). Beckly’s work has been featured in exhibitions at The Remai Modern (Saskatoon); The Museum of Fine Arts (Houston); and the Musée d’art contemporain de Montréal. He holds an MFA from the University of Guelph and a Bachelor in Psychology from the University of Toronto.
Selected solo exhibitions: The heart can’t wait, Daniel Faria Gallery, Toronto (2019); Lightbringer at Stride Gallery, Calgary (2020); Love S.O.S. at Centre3, Hamilton (2018).
Selected group exhibitions: Parentheses, Daniel Faria Gallery, Toronto (2019); Touch Screen, Galerie Antoine Ertaskiran, Montréal, curated by Julia Dault and Brian Sholis (2019); If I have a body, Remai Modern, Saskatoon (2019); A History of Photography: Selections from the Museum’s Collection, The Museum of Fine Arts, Houston (2019); Forward Motion, Small Arms Inspection Building, Mississauga, curated by Noa Bronstein (2018); It Can Only Be This Place, Doris McCarthy Gallery at the University of Toronto, Scarborough, curated by Tiffany Schofield (2018).
2016
21.5 x 26.5 inches
Edition of 20, 3 APs
ABOUT THE ARTWORK
Jesse Ed Davis was a Comanche/Kiowa musician born in Norman, Oklahoma, in 1944. He was involved in many projects as a sideman and as a supporting guitarist with Taj Mahal, John Lennon, and George Harrison, among others. He died tragically on June 22, 1988. He released three solo albums, the first of which is represented in this artwork. The cover image of this record is a painting credited to Jesse Edwin Davis II, his father, with cover concept and design by Jesse Edwin Davis III. On the record’s third song, “Washita Love Child,” the lyrics are as follows:
mom said to son
what about your school books?
thinking what about the draft?
daddy said honey don’t you worry about this boy
he’s headed somewhere
got a guitar and a van to ride
This record features many important contributors such as Eric Clapton (who plays a solo on “Washita Love Child”), Gram Parsons, and Leon Russell, among others. It is also notable that Jesse himself arranged and produced this record and appears on guitar, keyboards, and vocals.
–Duane Linklater
ABOUT DUANE LINKLATER
Born 1976 in Moose Factory, Ontario, Canada
Duane Linklater is Omaskêko Cree, from Moose Cree First Nation in Northern Ontario, and is currently based in North Bay, Ontario. He was educated at the University of Alberta and the Milton Avery Graduate School of Arts at Bard College and in 2016 he received the Victor Martyn Lynch-Staunton Award for Media Art from the Canada Council for the Arts. Linklater was included in the 2016 exhibition “Working Conditions” at Gallery TPW.
Selected solo exhibitions: “From Our Hands,” Mercer Union, Toronto, and 80WSE Gallery, New York (2016); “Salt 11: Duane Linklater, “ Utah Museum of Fine Arts, Salt Lake City; and “Modest Livelihood” (in collaboration with Brian Jungen), Reva and David Logan Center Gallery, University of Chicago, Walter Phillips Gallery, Banff, Alberta, Art Gallery of Ontario, Toronto, and Vox Centre de L’Image Contemporaine, Montreal (2012–14).
Selected group exhibitions: “In Search of Expo 67,” Musée d’art contemporain de Montréal (2017); SeMa Biennale, Mediacity Seoul (2016); “Residue: The Persistence of the Real,” Vancouver Art Gallery (2015); “Where Do I End and You Begin?” Edinburgh Art Festival (2014); “2013 Sobey Art Award Exhibition,” Art Gallery of Nova Scotia, Halifax (2013); “Beat Nation: Art, Hip Hop, and Aboriginal Culture,” Musée d’art Contemporain Montréal, The Power Plant Contemporary Art Gallery, Toronto, and Kamloops Art Gallery, Kamloops, BC (2013).
2011
14.9 x 19.6 inches
Edition of 20, 3 APs
ABOUT THE ARTWORK
For nearly two decades, New York– and Munich-based German artist Barbara Probst has used a remote-control device to simultaneously trigger the shutters of multiple cameras. Once these cameras have been placed within a given scene, she does not significantly alter the resulting photographs. But the occasional inclusion of tripods, lenses, and shutter-release cables within her pictures hints at how these images have been meticulously constructed. By rendering the same subject from distinct perspectives, Probst extends photography’s archetypal “decisive moment” and encourages viewers to patiently reconstruct its details. In addition to creating beautiful images, Probst encourages viewers to become amateur sleuths.
Probst has applied her signature technique to portraits, cityscapes, and still lifes to create artworks composed from as few as two or as many as thirteen individual photographs. This artwork, Study, depicts a lone skater gliding across the ice rink in New York’s Central Park. Two elevated cameras were positioned closely together, and the pictures fool our eyes: the skater appears not to move while the buildings behind her shift dramatically. This slight disconnect complicates a tranquil scene and defamiliarizes a familiar urban landmark.
ABOUT BARBARA PROBST
Born in 1964 in Munich, Germany
Lives and works in New York and Munich
Represented by Murray Guy, Kuckei+Kuckei, Monica De Cardenas, Bohman-Knäpper, Copyright
Selected solo exhibitions: Monica de Cardenas Galleria, Zuoz, Switzerland (2017); Murray Guy, New York (2016); Galerie Rudolfinum, Prag, Czech Republic (2014); National Museum of Photography, Copenhagen, Denmark (2013); Lars Bohman Gallery, Stockholm, Sweden (2010); Stills Gallery, Edinburgh, Great Britain (2009); Jessica Bradley Art+Projects, Toronto, ON (2008).
Selected group exhibitions: Art Unlimited, Art Basel, Basel (2018); JeonJu International Photo festival, Jeonbuk Art Centre, South Korea (2017); Art Gallery of Alberta, Edmonton, AB (2017); Akureyri Art Museum, Akureyri, Iceland (2016); Art Museum Toronto (2016); Staedtische Galerie Nordhorn, Nordhorn, Germany (2015); 32 Edgewood Avenue Gallery, Yale School of Art, New Haven, CT (2014); Tate Modern, London, Great Britain (2010).
Selected public collections: Centre PasuArt, Biel, Switzerland; Centre Pompidou, Paris; Musée d´Art Contemporain de Montreal; Galleria Nationale d’Arte Moderna, Rome; Museum of Contemporary Art, Chicago, IL; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Whitney Museum of American Art, New York; Vancouver Art Gallery.