Joe Fleming

Joe Fleming

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Joe Fleming has exhibited internationally for over 18 years with solo exhibitions in Singapore, Toronto, Vancouver, 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, A.T. Tolley Collection, 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 Wall Street Journal Magazine. Joe Fleming lives and works in Toronto, Canada.

The Escape Club, exhibition review Artoronto

The Escape Club at General Hardware: Excerpt from exhibition text by Graham Gillmore, Nov. 2017 

Discarded scraps of signage – billboards, movie posters and awnings are incorporated into the mix, loosely anchoring the imagery with pop culture references, but these snippets of information never reveal what they once were, leaving the viewer pleasantly lost in a forest of abstract signs. These appropriations give narrative weight to raucous painterly gestures, as well as introducing what Patrick McGrath in the novel ‘Port Mungo’ refers to as ‘…(painting) to be primarily a vehicle for the externalization of psychic injury’.

But it is paintings’ potential, as well as it’s exhausted past that makes these images resonate, giving them their bloodline, as they coerce history into fantasy. If the shock of the new has been demoted to modernity, Fleming’s paintings strive for irreverent sophistication without tagging the Mona Lisa with a moustache.

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

“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




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