Preview Picks

Leading up to the auction C Magazine board, staff and advisory committee members post their thoughts on some of their favourite artworks in the catalogue, here and on our social media accounts.

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Pick 1

Chelsea Rozansky, C Magazine Writer in Residence

Lot 17: Nadia Gohar, Eh Fee Amal, 2017
A shoe contains a gestalt, the mmph of recognition. This is the opposite condition of the migrant’s and the tension in Gohar’s work. This is to say nothing of words turned flesh in metaphors like walking a mile in someone else’s shoes.

Pick 2

Karie Liao, C Magazine Board Member

Lot 31 - Sarah Davidson, Cherries for Hilma, 2018

Our hair smelled of sun, grass and dirt. The five of us had spent the day napping outdoors, drinking cheap vodka warmed by the July heat, and taking turns reading excerpts aloud from Blavatsky’s Isis Unveiled and Steiner’s Philosophy of Freedom. H had told us after her sister had passed that she had longed to speak with her again. I felt a cool breeze brush across my hot sticky cheek. That evening we formed a circle in H's room and ate cherries.

Pick 3

Evelyn Salvarinas, C Magazine Board Member

Lot 11: Mark Ferkul, Untitled, 2019

Through written and printed text Mark Ferkul explores interpersonal relationships, often with a sense of longing or desire. In Untitled, Ferkul’s delicate note leaves the viewer wondering for whom these words were intended. At the same time, the text inspires feelings of love and yearning regarding the viewer’s own relationships, placing them within Ferkul’s amorous narrative.

Pick 4

Sabrina Maltese, MOCA Curator of Public Programs and Learning

Lot 20: Lorna Bauer, The Shade House #3, 2018

Fragments of bright sunlight and the shadows of tropical flora are cast onto a translucent scrim in Lorna Bauer’s The Shade House #3 (2018). Bauer’s richly textured photograph—which was included in her solo exhibition The Hand of Mee at Franz Kaka last year—transports me to a botanical garden where the sun is hot and the air is humid. A billowy shade screen above filters light for fragile leaves.

Pick 5

Lucas Regazzi, C Magazine Social Media

Lot 16: Sean Ross Stewart, Flower 30, 2018

In Sean Ross Stewart’s Flower 30, liberally applied greens and browns bully the flower into formal illegibility, an image in search of itself. It reminds me: I was living in Saskatoon last summer. One day, smoke from the west coast wildfires blew through the city. The sky burned blue to orange—street planters, people and houses flattened by an eerie, rusted light—obscuring the joy of what felt permanent. At the end of the world, will there be flowers?

Pick 6

Kate Kolberg, C Magazine Editorial Assistant + C Auction Event Manager

Lot 12: Angela Grauerholz, Privation Series (The Woman Warrior), 2001

How might we quantify the sentimental value of books? That is, how they mean to us. Is it in the number of times read, or hours spent with them? Is it in the pleasure of their specific tactility or the impact of their lessons upon our lives? Grauerholz’s Privation Series confronts the loss of her library to a fire – an injury unique to the owner, like a book with a name etched into the cover page.

Pick 8

Katie Lyle, C Magazine Board Member:

Lot 42: Myriam Dion, Chasing the Allure of a Royal Past in Northern India, Sunday-January 10, The New York Times, 2019
In Dion’s work the surface, image and structure are fused together through her careful process of cutting away. I love the way the outside becomes the inside of the work through tiny holes and touches of gold leaf that augment and obscure the delicate fabric of the newspaper. The fragmentation of the image reminding me of filigree metal work or a skeletonized plant pod.
Pick 9

Evelyn Salvarinas, C Magazine Board Member:

Lot 1: Brian Rideout, American Collection Painting 29 (Gray, Youngerman), 2018
Brian Rideout uses found interior images as the inspiration for his paintings, which often include mid century design and abstract art. American Collection Painting 29 illustrates La Fiorentina, featuring works by Cleve Gray and Jack Youngerman. Through canonizing these interiors to contextualize them within our visual history, Rideout not only commemorates important art and design, but also provides a sense of nostalgia by transporting the viewer to a time and place where they wish they could be.