click to enlarge

Curated 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"

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