Joe Fleming

Joe Fleming

Solo Exhibition at General Hardware
The Escape Club
October 12 – November 11

Great and North
Imago Mundi, Group Exhibition
August 29 – October 29, 2017
Campo S. Stefano, 2945, 30124 San Marco, Venice

Curators: Francesca Valente and Jennifer Karch Verzé
Publication text by: Peggy Gale

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Fleming’s paintings have a decidedly sculptural pull, representing the artist’s experimentation with form, texture, materiality, perspectival confusion and possibility. Fleming employs industrial polycarbonate – altering his surfaces that contribute a screen-like translucency and allow for the interplay of light and shadows. Fleming juxtaposes gestural abstraction with graphic silhouettes of colour. The transparency of the polycarbonate intensifies the viewer’s experience, dissolving the boundary between where the painting ends and the wall begins.

Joe Fleming has exhibited internationally for over 18 years with solo exhibitions in Singapore, Toronto, Calgary and New York City. He has lectured at universities in Canada, the United States and South East Asia since 1993. His paintings are included in many public and private collections such as: BMO Financial Group, Trimark Mutual Funds, Honeywell Bull, Prince Waterhouse Coopers (Malaysia), HSBC Bank, Australian High Commission, Canadian High Commission (Kuala Lumpur), the Art Gallery of Edmonton, the Museum of Civilization (Hull, Quebec) and the Holocaust Museum (LA). Fleming has exhibited in several international art fairs: Art Stage (Singapore), FIAC (Paris), Arte Cologne (Germany), Scope (New York and Miami), Papier (Montreal) and TIAF (Toronto). He has received recognition for his work in Carte Blanche 2: Painting – a survey of new Canadian painting (The Magenta Foundation), 60 Painters in Canada, The Artist’s Studio (by Joseph Hartman), Imago Mundi, Design Lines Magazine, Azure Magazine, The Globe and Mail, Now Magazine, CBC, Chelsea Now and The Wallstreet Journal Magazine. Joe Fleming lives and works in Toronto, Canada.

“Fleming uses construction scraps and found objects to create short but very thick pile-ups that leap off the wall. Then he slathers his hoardings with gobs and bucket wallops of candy bright paint. Weirdly, this messy sounding scheme results in works that betray a ruined elegance, the allure of the dishevelled (what is known in club culture as being a “hot mess”) – all of which makes me suspect that despite the outward slap-dash action, Fleming is a highly calculating painter.” R.M. Vaughan June 23, 2012

interview with Studio Beat

Reviews 2014: Suckerpunch, solo exhibition @ Mike Weiss Gallery NYC

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