City Lights v2

After the successful opening of my debut show, City Lights, at Moore Gallery in Toronto, I was invited to show work at the 13th Street Winery in St. Catherines, Ontario. Although this show shares the same title as my last show at Moore, and much of the same work was on display, I wanted this show to be more eclectic. I lifted my self-imposed rule of only selecting work based on photos from time lapse sequences, and selected paintings that I thought worked well together visually with the work from the last show.

The only camera I had with me during this opening was the one in my cellphone, so the image quality isn’t up to par. But grainy blurry greenish shots are better than nothing!

Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements    Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements    Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements    Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements
Installation shot.

Installation shot of original artworks by Kyle Clements
These three paintings were intended to be sneak peek at where I was going for my next show, “Concrete and Glass”. But they were the first to sell, and I ended up having to do a lot more work to fill the gallery for my next gallery show.

Installation shot of original artworks by Kyle Clements
Another angle of the set of three paintings that were the precursor to “Concrete and Glass”.

City Lights

This show was the first time that I’ve had enough of an established body of work that I wasn’t rushing around at the last minute, fighting to crank out enough work to display. For this show, I was able to pick a theme, set out my entire body of work, stand back, and pick out a number of pieces that fit that theme. In this case, visual abundance was the focus – the density of images we come across in our daily lives from advertisements and videos to photos on social media, was something I was thinking about.

I selected paintings that were based on collages of images taken from time-lapse photography sequences, where I was literally choosing one or two images from thousands of possibilities and combining them into digital collages emphasizing speed, abundance, and visual density.

Installation shot.


Installation shot.


Installation shot.


Installation shot.


Installation shot.


Installation shot.


Installation shot.


Installation shot.


Installation shot.

electrified v2.0

After my experience with Electrified, I wanted to keep the ball rolling, so I pulled this apartment show together. I was interested in taking a more minimalist approach this time around. I simplified my paintings by zooming in on small sections of other paintings, and using that as the basis for the next painting. My palette moved away from the primaries, and focused towards the tertiaries. Registration errors were made more prominent. I played around with the viscosity of the paint; going from thin and watery to thick like a drywall paste. I introduced pearlescent pigments. I wanted to see how far I could push this Urban Landscapes series, what would work, and what would not, and a non-commercial apartment showing was a great opportunity to do just that, and solicit feedback from my friends and peers.


Urban Landscape, 16″ x 16″, acrylic on canvas, 2006.


Urban Landscape, 16″ x 20″, acrylic on canvas, 2006.


Urban Landscape, 16″ x 20″, acrylic on canvas, 2006.


Urban Landscape 1, 44″ x 56″ (approx), acrylic on canvas, 2006.


Urban Landscape 2, 44″ x 54″ (approx), acrylic on canvas, 2006.


Urban Landscape 3, 42″ x 52″, acrylic on canvas, 2006.


The apartment, where the show was held.