Visual Rhythms
Robert Coad
Joseph DeAngelis
André Fauteux
Dieter Hastenteufel
Tim Jocelyn
Svitlana Muchin
Reinhard Reitzenstein*
Patrick Thibert
May 15 – September 30, 1984
Curated by Marshall Webb
Line, form and colour in the work of eight Ontario artists evoke the melody, rhythm and timbre of musical compositions. In this celebration of Toronto's Sesquicentennial and Ontario's Bicentennial, Tim Jocelyn's Lizard Boys Ooga Booga creates his own dance party with Matissean figures which jive with Svitlana Muchin's Fission. Her bright colours and ostinato rhythm contrast sharply with the more lyrical works of André Fauteux (Cornucopia) and Reinhard Reitzenstein (A Pair of Satyrs).
Joseph De Angelis creates a physically static but visually playful cage called Treble. Its counterpart is Dieter Hastenteufel's Sound of Silence which can actually become a percussive instrument suitable for improvisation. Robert Coad creates tuning forks that evoke human forms in Walpurgisnacht. Next to St. James' Cathedral stands the large aluminum work by Patrick Thibert, Law's Field, which has an affinity with architectural form (referencing passages, tunnels and buttresses) but is subtly influenced by the rhythm and repetition, theme and variation of music.
Text by Marshall Webb
Robert Coad, Walpurgisnacht, 1984, steel, fiberglass, wood, pigment, 120" x 36" x 168"
Joseph DeAngelis, Treble, 1984, painted steel, mixed media; 120" x 24" x 96"
André Fauteux, Cornucopia, 1983, painted steel, 44" x 52" x 108"
Dieter Hastenteufel, Sound of Silence, 1979, painted steel, 65" x 39" x 64"
Tim Jocelyn, Lizard Boys Ooga Booga, 1984, rip-stop nylon; 3 panels, each 216" x 36"
Svitlana Muchin, Fission, 1984, painted wood, overall 144" x 200" x 48"
Reinhard Reitzenstein, A Pair of Satyrs, 1984, painted square rod mild steel; overall 120" x 156" x 32"
Patrick Thibert, Law's Field, 1983, aluminum, 126" x 120" x 99"
*See Reinhard Reitzenstein in Blur
