SAN VICENTE installation by Gustavo Cerquera

Gustavo Cerquera
Opens Friday 24 April 2015
On display in the Plate Glass Gallery until July 2015

San Vicente is an installation composed of several large-scale, hand-painted paper sculptures illuminated by projected animations. The environment created is a maze-like space inspired by Latin America histories and the aesthetics of ayahuasca hallucinations to recreate the physical, historical, and psychological sensations of the Amazon.

Things on things on things: Installation by VSVSVS

Things on things on things
On display until February 2015

As objects amass and come together, their similarities slowly emerge and they find ways to get close to each other. They spoon, they consume, they fit. These objects ebb and flow, combining and dissolving until they crystallize and assume their perfect arrangements. Culled from the collective archive, these clusters are our favourite objects so far.
We are VSVSVS (pronounced versus versus versus), a seven-person collective and artist-run centre based out of a warehouse in the portlands of Toronto, Ontario. Formed in 2010, our activities encompass collective art making, a residency program, a formal exhibition space, and individual studio practices. Our collective work focuses on the collaborative production of multiples, drawings, video works, sculpture, installations, and performance. An open framework allows each of us to play to our own interests and ends, while contributing to a common goal. Working with seven heads is an experiment in being together too much and making things constantly.


periwinkle blues

periwinkle blues
Christopher Boyne

Opening Reception is Saturday 9 August 2014 at 7PM

periwinkle blues marks a moment from my fathers history. While fishing in the Gulf of St. Lawrence in the late nineteen-seventies my father was on a boat called Lucky Strike which landed five blue fin tuna in three days. This was an incredible achievement as most boats in the fleet would not catch five of these fish over their entire season. The five fish ranged in weight from just under four-hundred to over one thousand pounds. My father caught two fish each weighing eight-hundred pounds. He kept the hook from one of the catches in a pine box on top of his bureau and he kept pictures of him standing next to the enormous fish as they hung from their tails at the dock in the top drawer of his desk. I spent my entire life looking at these images and pushing my fingertips into the sharp point of the enormous hook.

About the Artist

Chris Boyne (b. 1984. Halifax, Nova Scotia) is a photo-based artist who uses found ideas, memory and fiction to create work with manifold complexities. His work has been shown across Canada and in the United States and he is the recipient of multiple awards including the Dick and Gretchen Evans Fellowship for Photography. He is currently based in Montreal and Halifax.

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By Nathalie Quagliotto
Gallery Intervention, 3 identical yellow neon signs (2013)
4 April to 26 July 2014

Three yellow neon signs that read the word “GALLERY” originally produced for a site-specific project organized by the Blackwood Gallery in 2013, are travelling to the Niagara Artist’s Centre from 4 April to 26 July 2014.  Placed in NAC’s street level front window gallery in close-proximity of one another, these neons mimic commercial publicity signage and humorously exaggerate this overlooked area to create a superfluous gallery space.

Nathalie Quagliotto (B. Montreal, Quebec) is a Toronto based conceptual artist who uses humour and disruptive situations to comment on the criticality of the art environment. She earned her MFA in sculpture from the University of Waterloo in 2009 and her BFA in studio from Concordia University in 2007. In 2008 she apprenticed under Turner Prize winning conceptual artist Martin Creed in London, England, thanks to the University of Waterloo’s Keith and Winifred Shantz fellowship. She has shown nationally and internationally and her work is in various private and public collections in North America, such as the Urban Institute for Contemporary Arts in Michigan. She is a grant recipient from the Toronto Arts Council as well as the Ontario Arts Council of Canada. She has recently shown at the Museum of Design Atlanta, Georgia, as part of the “XYZ: Alternative Voices in Game Design” new media exhibition.  She has upcoming exhibitions across Canada and in New York in the States.

Photo by: Toni Hafkenscheid


Jesse Frank Matthews
Opening Reception Wednesday 24 July 9pm

‘night after night
I chase you down,
night after night
you disappear’

-The Egyptian Lover

The term pheromone, a chemical compound of numerous forms, is derived from two Greek words; pherein (to transport) and hormone (to stimulate). Influenced by the ways that sexual pheromones have been used to  ‘trap’  other species in the insect world. Within this understanding of attraction, the pheromone is simply understood as a chemical compound emitted by the female species to indicate their breeding availability to males, secreting an odour letting others know exactly where to find them.

Humans have manipulated this ancient essence to disrupt mating and control pests, by extracting the powerful pheromones secreted by the female species and consolidating the essence with adhesive, then placed as bait inside an empty cage. As the scent attracts the male(s) they become trapped on the unforgiving sticky surface, laced in subliminal seduction and brought to their demise by deceptive hopes of a potential mate. Cruel, but necessary to some, this scheme has long helped scientists and night club owners to understand the language of love.


Alicia Eggert and Mike Fleming
Saturday  30 June – Friday 31 August
Reception Saturday 30 June 7pm

The Niagara Artists Centre presents Alicia Eggert and Mike Fleming’s Eternity, a time based installation in the Plate Glass Gallery.

Eternity consists of 30 electric clocks rear-mounted to a large sheet of white acrylic. During installation, the black hour and minute hands of the clocks are aligned to spell the word ‘eternity’, and the clocks are plugged in to a series of power strips on the floor. The hands begin to move when the switch on the last power strip is flipped, and the word almost immediately becomes a jumble of moving black lines. ‘Eternity’ does not reappear until the hour hands return to their original positions twelve hours later. And even then, it lasts a mere split second.

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Takin’ it to the Curb

Installation by Clinton Michael Lown
On display from 3 March – 9 June 2012
Preview: Saturday 3 March at 3pm
Opening Reception and Artist Talk to take place in April

On display in conjunction with Four From Six: Four Artists From Six Nations

I bought a VHS player at a garage sale for 5 dollars.  It worked for a good six months and then I took it to the curb.  My first beta was used and cost me 400 dollars which is the equivalent of 10 000 dollars in today’s dishwashing economy of St Catharines.  I used to work at a video store, gone; a factory, gone; and a full service gas station, gone. I could afford a made of steel, made in Japan Beta Max.  My first machine wasn’t even H Fi and cost me over 500 dollars.  You couldn’t buy a machine back then unless you went to a video store to buy one.  There was no Best Buy next to Future Shop next to Walmart and Zeller’s didn’t have them.  You can own it on Blue Ray and you can spend over 100 dollars a month on internet and cable even though the movies are still the same.  Oh they might look better, but they’re still the same.  I was given a DVD player; I didn’t have to buy one and I’ve already thrown two away.  Now if someone breaks into a house all they can steal has already been taken to the curb and anything made of steel has long been rusted away.  The crows stay high in the trees and wait patiently for me to be taken to the curb and when they do they will fly down and peck out my eyes and take me to a place that’s special.  A place where size matters most, the size of your Beta movie collection.


Jon Shaw
On display from 9 Aug –  8 Nov 2011
Reception Sat 10 Sept at 8pm

Jon Shaw’s animation documents a keen interest in technical and critical experimentation. His work combines a variety of media through self-taught animation techniques. As a traditionally trained painter, drawer and sculptor, Jon does not classify himself as an animator or filmmaker in the conventional sense. He views his animated work as an extension of other branches of artistic production, preferring to categorize them as “animated drawings” rather than “films” or “videos”.

Jon’s animations often focus around the theme of technology and its role in a contemporary world. Drip, alternatively, is a more concise experiment. Containing neither a beginning nor an end, the work focuses on the interaction of different drawing styles. The work’s essence is contained within the reciprocal nature of the moment – it invites the viewer to stop, look, relax and enjoy the serene simplicity.

Rough Count

Rough Count 
by Deirdre Logue
March – June 2011

During the simple act of counting a bag of confetti – piece by piece – memory thresholds are found and failures amass. The performer begins each count where she left off last. Like pixilation, each individual dot is required to complete the picture. Each tiny piece must be located first in the hand, then between fingers, accounted for and then placed. But with memory maxing out, she is distracted, often fumbles, then forgets. She is disappointed in herself, becomes impatient, and anticipates the impending interruption, knowing that each inevitable failing will stop the clock. At Rough Count’s conceptual centre is anticipation and the accumulation of anxiety that results. In this emotional pile up, time spent is grieved with each lost number and the counting becomes a sight for the analysis of self-doubt where even before the point of completion, one starts to question the purpose of ones action.