September 12 – October 19, 2019
Opening reception: Thursday September 12, 6-8pm.COOPER COLE, Toronto, Canada
↓ InformationCOOPER COLE is pleased to present a solo exhibition by Kate Newby. This marks Newby’s second solo exhibition with the gallery.
This Is How We Do
(A Never-Ending Text, For Kate’s Exhibition, Starting Today, Thursday, Added To, Maybe Tomorrow, Or More Like The Day After)
All of these lines bring softness, not lines like any others we march to, wait for, complain about:
bus lines,
border lines,
hair lines,
time lines.
We end up seeing most of our lives from ‘em, thinking our best thoughts, wearing our fleece bottoms, making toast, stumbling, toing and froing, as if our rented spaces, with the potted plants, would bring us closer, but will always be, the width of a train car, jostling us slightly, as we groan and inch out through industrial spaces, like this one, and like that one, on our way to work, or is our work, eventually to become the next place to live (it’s all living, right?) these spaces existing because of our need for wood of certain lengths, (you… yes you…) dimensions, styles, pallets of cheddar cheese and Huggies Little Movers Jean Diapers.
“eXistenZ,” I overheard a young woman say, in a converted industrial space that had been turned into a coffee shop called, Grit one day while I was visiting Toronto.
What do we see of worlds like this? Moving out like this?
We are placed within a radius of vision, a moving circle, of lines drawn, and then redrawn, further out then a stone’s throw. A placement, an egg cracked into a cast-iron skillet, the space at the top of the glass and not the bottom, nothing like the bottom! the shape of sound as seen from above, a paint can lid cracked open, like a nut, we see the fruit for the first time, still color, fresh will, the wall’s will, a room without geometry fits as liquid in a can.
Why toss, why stumble, why bunch, wrinkle and pile up?
Why a machine to force out the dirt of our lives? (said with emotion) Why lint, why the smell of fruit poured into those noise-generating-liquid-scrawlers, the lucky machines, is what my Nana called them. ‘Let’s move ’em out!’ she shouted while loading them, less we scrub and scrub our clothes on rocks by the river, like so many do? On rocks by the river like so many DON’T, I thought at age twelve.
On rocks by the river. The Washington Post has called it ‘a magical artifact, a kind of time capsule with the power to transport readers to another era.”
Throwing a rock into a river is like yelling “DONUT FUCKERS” in a bakery, “it was written in the press release” (said Paul)
No? Not really, I thought, not like throwing a rock into a river, yelling.
Not a rock, but something like a rock, a stone, but more a gesture, like at the end of a movie, or like a golf swing, our eyes lift up from the protagonist, peeled away by a particular camera shot, we watch the main character blend, then disappear into a crowd.
Amen. (splunk)
– Geoffrey Farmer
An ongoing text.
Invited by Kate Newby as a part of her exhibition Nothing in my life feels big enough.
Kate Newby (b. 1979, Auckland, New Zealand) works with installation, textile, ceramics, casting and glass. Her work explores the limits and nature of sculpture, not only in space but also where and how sculpture happens. In 2012 she was awarded the renowned Walter’s Prize. Newby graduated with a Doctor of Fine Arts (2015) from the University of Auckland’s Elam School of Fine Arts. Recent solo shows include Otium #4, IAC, Villeurbanne, France (2019); A puzzling light and moving., The Lumber Room, Portland, USA (2019), Nothing that’s over so soon should give you that much strength, Hordaland kunstsenter, Bergen, Norway (2018), All the stuff you already know, The Sunday Painter, London, United Kingdom (2018), I can’t nail the days down, Kunsthalle Wien, Vienna, Austria (2018), Swift little verbs pushing the big nouns around, Michael Lett, Auckland, New Zealand (2018); Let me be the wind that pulls your hair, Artpace, San Antonio, USA (2017); The January February March, The Poor Farm, Wisconsin, USA (2016); I memorized it I loved it so much, Laurel Gitlen, New York, USA (2015): Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles, USA (2015); I feel like a truck on a wet highway, Lulu, Mexico City, Mexico (2014); Maybe I won‘t go to sleep at all., La Loge, Brussels, Belgium (2013); and Let the other thing in, Fogo Island Gallery, Newfoundland, Canada (2013); among others. Her works have also been shown in international group exhibitions, including Notebook, 56 Henry, New York, USA (2019), Further Thoughts on Earthy Materials, Kunsthaus Hamburg, Germany, (2018); 21st Biennale of Sydney, Australia (2018); Scrap Metal, Toronto. Canada (2017); Index – The Swedish Contemporary Art Foundation, Stockholm, Sweden (2017); Sculpture Center, New York, USA (2017); Casa del Lago, Mexico City, Mexico (2015); Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand (2015); and Arnolfini, Bristol, United Kingdom (2014). Newby undertook residencies at The Chinati Foundation, Marfa (2017), Artpace, San Antonio, USA (2017) and Fogo Island, Newfoundland, Canada (2013). Newby currently lives and works between Auckland, New Zealand and Brooklyn, USA.
We would like to acknowledge the generous exhibition support of Laura Kukkee and the ceramics department at Sheridan College in Oakville, Ontario.
To learn more about this exhibition, please provide your contact information.
Kate Newby
Selective eye contact
Selective eye contact, 2019
White brass, hand made silk rope
Dimensions variable
Kate Newby
Someday I want to just have a room full
Someday I want to just have a room full, 2019
Stoneware, silk thread
Dimensions variable
Kate Newby
Everything you can imagine is real
Everything you can imagine is real, 2019
Brass, hand made silk rope
Dimensions variable
Kate Newby
noise is by no way mild.
noise is by no way mild., 2019
Pink silver, red brass, hand made silk rope
Dimensions variable
Kate Newby
Can’t wait till the day
Can't wait till the day, 2019
Bronze
Dimensions variable
Kate Newby
Song at the end?
Song at the end?, 2019
Porcelain, stoneware, screws
Dimensions variable, 12 pieces (Right Hand Side)
Kate Newby
Moves freely around most environments
Moves freely around most environments, 2019
Porcelain, stoneware, screws
Dimensions variable, 12 pieces (Left Hand Side)
Kate Newby
and I LOVE wild
and I LOVE wild, 2019
Porcelain, smoke fired stoneware, screws
Dimensions variable, 13 pieces (Right Hand Side)
Kate Newby
if only I lived closer
if only I lived closer, 2019
Porcelain, smoke fired stoneware, screws
Dimensions variable, 12 pieces (Left Hand Side)
Kate Newby
dont play it but i still have it
dont play it but i still have it, 2019
Porcelain, stoneware glaze, collected glass from Toronto sidewalks, brass
Dimensions variable
Kate Newby
Hold onto me as we go
Hold onto me as we go, 2019
Stoneware, porcelain, mason stain, screws
Dimensions variable
