Concrete and Glass

March 5, 2013

Concrete and Glass, an exhibition of new paintings by Kyle Clements will be on display at Moore Gallery in Toronto from March 9 to March 30, 2013.

The opening reception will be held on Saturday, March 9th, from 2 to 4pm.

I put so much effort into pulling this show together and advertising it on social media, I forgot to announce it on the official website! Hopefully everybody who checks this page also checks the facebook and twitter pages.

Moore Gallery Winter Group Show

January 7, 2013

I currently have one piece on display at Moore Gallery in Toronto from January 8th 2013 to February 2nd, 2013 for their annual winter group show.

There will be no official opening reception for this show, but feel free to drop by anytime, as there is a lot of great work from a lot of great artists. I only planned on spending five minutes in the gallery, dropping off my piece then heading out, but I stuck around for nearly an hour to take it all in.

I’m really excited to announce that I will be having my second show at Moore Gallery this March. I am being pared with Sakis this time around, and although I haven’t seen any of his newer work, if it’s anything like his older encaustic paintings from 7 years ago, I think our two shows will be quite complimentary towards each other.

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.