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where its authority is mediated most usually by white or pink. 3 .If Margaret Glew’s intention is to produce a body of purely abstract work. its role is one of signifier and its spare symbolism provides a familiar almost comforting aspect to the work. more mysteriously in Dropping Slow (p. Encountering landscape and distilling it to an almost pure form of colour relationships. then she pulls it off — just. Utilizing a distinct and personal vocabulary Margaret Glew has created a body of work that engages us in a contemporary and timely dialogue.1) and several of the untitled paintings from 2010.10) and Incandescent (p. in varying degrees. she cannot abandon them completely. grids and reworked areas generate a rather less benevolent feeling that reminds us that landscape may be imagined and interpreted in numerous ways. By reexamining and re-interpreting her subject matter in new and provocative ways. For this artist nature remains a touchstone. as real and as close to us as they have been even from the early years of our lives. In paintings such as No Way Home (p.11). and Long Nights (p. Gillian Reddyhoff Gillian Reddyhoff is currently the curator of the Government of Ontario Art Collection at the Archives of Ontario. trees and the sun and the rain.1) to provide the solid ground. written about contemporary Canadian artists and curated numerous historic and contemporary art exhibitions. sometimes appearing in a major role as in Any Way you Want (p. these elements remain. the artist nevertheless retains linkages that ground the work in the here and now. Lines. the building block or. she has taught courses in Canadian art history at the Nova Scotia College of Art and Design.9). we too are forced to ponder it anew and in so doing. Dense and layered. Rendered simply as cloud forms. Even as a bit player in Too Close to the Ground and Incandescent.6). the inspiration and the driving force behind these paintings comes as a result of Glew’s astute observations as well as her subliminal interaction with the natural world. the palette is anything but subtle and is dominated by blocks of pure orange and blue. the subject of these works appears as almost impenetrable.5). This link to the natural world has always informed much of our personal geography and so the threat to its ongoing existence can hardly be ignored by an artist who has spent much of her considerable practice observing and interpreting the landscape. arrows. Fire and Rain (p. as the endless void from which all things emerge or into which all things disappear. No discussion about Glew’s current work can ignore first impressions and these impressions are overwhelmingly informed by her use of colour.6). However. Formerly a curator at the City of Toronto’s Market Gallery. But this is jumping the gun. Black is a constant too. This orange reappears many times in successive works including Too Close to the Ground (p. to re-evaluate our own place within it. The complexity of this relationship is particularly apparent in Without a Net (p. While pushing her own creative boundaries far beyond previous limits. Her reference points are the sounds and symbols of weather and weather patterns and their effect on our environment. a thread that weaves its way through each and every one of these paintings.2) and Wind over Water (p.

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