September 18, 2014

Gallery artist Georgia Dickie had her current show reviewed in The Toronto Star.

CC_Georgia_Dickie_GodMakesNoMistakes(LorettaLynn)

“How big can Georgia Dickie get, and how fast? The 25-year-old Toronto artist, through no fault of her own, has been testing those limits with increasing intensity the past couple of years as she piles up museum exhibitions (Oakville Galleries, the Museum of Contemporary Canadian Art, the Power Plant) and critical acclaim (guilty) at a dizzying rate.

That’s likely because it’s well deserved. Dickie is part of a youthful cohort in the city who have a shared enthusiasm for simple materials, but I’m not sure any of them match her unbound, intuitive joy.

Her current show at Cooper Cole shows you exactly what I mean. Dickie lives underneath a scrap heap of found objects and weirdo castoffs — for at least a couple of years, a coffinlike box with a prosthetic ear stuck to it has lived in her studio — and it often seems like her practice is founded on an urgent need to recombine them into something close enough to art that she can shove them out the door. One work in the show says as much: a gleeful swoop of wire balanced on a short pile of wood, porcelain and plastic is called “Everything Out at Once.”

Not every work teases so explicitly, and Dickie’s humour often reigns — another standout, a teetering snarl of pipe balanced on a wooden disc, is called “God Makes No Mistakes (Loretta Lynn)” — but herein lies the engine of her remarkably dynamic, idiosyncratic works.

You can see them as sculpture, which they absolutely are (she has sense of material, proportion and scale that would do any classicist proud), and there’s a sly Minimalist name check to much of what she does, with her coils of copper pipe and other workaday castoffs. But her compositions are so enigmatically beguiling that, far from the cool materialism of her forebears, they exude a lovable, forthright charm.

Dickie’s works are forced out to fend for themselves in a world where their function, as art or anything else, is to be determined. It’s a nice little reflection of their creator, who seems to use her array of objects and the mash-ups they become as a proxy for making sense of things in a much, much bigger sense for herself — something she, like any of us, struggles with mightily. With her progeny let loose in the world to find their own way, she might just be assembling an army of fellow travellers for us all.”

– Murray White

To see the full article please visit The Toronto Star.

For more information about Georgia Dickie please contact the gallery:

info@coopercolegallery.com
+1 (647) 347-3316

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