No biography is available at this time for Terri Quinn.

Born and raised in Toronto, Simeon Posen is a landscape and architectural photographer with works spanning over four decades. His studies in architecture and stage design contribute to the unique perspective evident in his black and white photographs – namely, illuminating the intricacies of the parts to express the structure of the whole, whether created by nature or by man.

Posen’s technique, style and composition are also influenced by such photographers as Marie Cosindas, Wynn Bullock and Brett Weston and Ansel Adams with whom he studied in California.

Receiving both federal and provincial grants, Posen has conducted extensive photographic studies of the architecture of France, Austria, Iran and Greece; as well as broadly documenting the Ontario landscape.

Today, Posen continues his exploration of photographic art through blending new and old technology, frequently exhibiting while continuing his professional career in architecture.

Photographic Techniques

Circa 2024, from the artist: Explorations with the “Camera in Motion”

In my earlier work the camera is still and static.

The camera is a fascinated, yet motionless observer.

In the last few years I have been exploring the expression of “Camera in Motion”. It started in the “Midway Lights” portfolio. The camera moves in rhythm to the movement of the amusement rides. It is very experimental and each evening, after leaving the fair, I would go into the darkroom to see what I had done and with that new knowledge, attempt to build on it the next night.

This work has now grown into taking this idea and experimenting with it in the natural world. The images have a magic quality, not expected when the experiment began.

Every movement and shift creates a transparency and brightness I haven’t found in my earlier still images.

Circa early 2000s: Posen utilizes 8×10 and mid-size negative formats to express the beauty of natural form. He prefers the subtlety of ‘black and white’, maximizing the use of digital technology interwoven with more traditional methods. He uses ‘Pyro’ for negative development, a formula favoured by Adams and Weston, and continues to print on silver fibre-based papers.

Simeon Posen brings an added dimension of brilliance to his works by carefully selecting the conditions of light and weather for the subject chosen. This study and patience bring an intensity yet subtlety to his nature studies.

https://www.instagram.com/simeon_posen/                                     https://liss-gallery.squarespace.com/simeon-posen

Joachim Oepkes is a former communications and art professor at Sheridan College who has shown his slide installations and photo exhibitions in a variety of venues in Toronto. He says of his unique perceptions of graffiti art; “My abstractions unseal imaginary visions seeking spiritual wealth.”

http://larrymiddlestadt.com/cv.html            From 1998:

For most of my daily painting life, I have been fascinated with the transcendental qualities of light and the way it animates the natural world.

My early optical paintings dealt with light, geometrically and prismatically. The later works used light and texture atmospherically.

In these latest works nature again becomes my vehicle for dealing with psychic and metaphysical ideas.

This more representational style allows me to deal with light not only as a metaphor for energy and change but as a vehicle for creating images of the natural world that express the transitory nature of reality.

The possibility of conveying both philosophical and emotional content through non narrative paintings seem an elusive goal, yet it is this possibility that drives my work.

Eric McConnachie is a northern Ontario artist who lives and works in the area west of Algonquin Park.
He has adopted the medium and tools of one of his mentors, Tom Thomson. Most of McConnachie’s works are done on small wood panels, painted while surrounded by the environment from which he is nourished. He is able to bring an energy and immediacy to all of his works; the weather as it changes through all the seasons, the light as it shifts from morning to evening. Each is a small window into a wilderness which still exists on the periphery.

Andrea Maguire was born in Toronto in 1955, and she still makes her home in the city.  A widely exhibited artist, her studies in mythology, psychology and meditation help her to explore the human psyche and create new ways of expression in this world of perpetual change.

With degrees from the University of Toronto and the Ontario College of Art, Maguire has worked as a teacher (art and history) and as an illustrator.  She has exhibited in prestigious group shows since 1975, and more recently has presented her mixed media images in solo exhibitions in Toronto.  Two resoundingly successful group shows in New York earlier this year led to a place at the Monserrat Gallery in Soho.

Maguire’s reflective and meditative approach to her art is particularly in harmony with the spirituality of the ancient culture and sacred traditions that are still a vital part of Tibet today.  Deeply moved by her recent visit, her beautiful abstract images with their interplay of texture, colour and collage, evoke the poignant sensations and the raw ancient energy she found imbued in the long forbidden land.

http://www.andreamaguire.com/

Yousha Liu was born in Zhejiang, China.  She earned a Bachelor of Fine Arts degree at China Academy of Arts in 1982 and her Master of Fine Arts degree at Georgia Southern University in USA, in 2001.

Yousha’s professional experience began as an assistant curator at the Art Center of Hunan Province (1982-1985), followed by a position as assistant professor at the Zhejiang Academy of Painting in China (1985-1991).  After her first solo show in Canada, Yousha relocated to Toronto and continued her creative life as an artist and art teacher (1991-1999).  She taught studio art at Georgia Southern University (1999-2002), Iowa State University in USA (2002-2004), and gave private lessons in Canada. Now Yousha has settled in Mississauga, Ontario pursuing her creative life as a full time artist, part-time teacher and volunteer for local art societies. She has been selected to serve on the committee for the Induction of Honourary Members of the Drawing Society of Canada, and vice-president of the Oakville Arts Association.

Web site for Yousha Liu:  http://www.youshaart.com/

Elaine Ling  1946–2016                       https://elaineling.ca/               From 2003:

Drawn to both mythic and deserted places, Elaine Ling photographed desert and rock-scapes throughout the world, including sand filled houses of a diamond mining ghost town in Namibia, ‘San’ rock drawings of South Africa and Zimbabwe, the Atacama Desert in Chile, ghost towns of abandoned silver mines in Mexico, paleolithic rock engravings in the high Atlas Mountains in Morocco, Anazasi pictograms and petroglyphs in the American Southwest, tombs of the emperors of four dynasties along the Spirit Roads of China, the ancient city of Petra in Jordan, Persepolis in Iran and temples of Angkor Wat in Cambodia. Her later work was of Cuba and Bhutan.

Ling exhibited her work extensively in the United States as well as in Canada, France, Germany, Belgium, Italy, Czech Republic, Russia and Mexico.

Her photographs are in the permanent collections of the Museum of Fine Arts Houston, Texas, the Houston Center of Photography, Texas, the Henry Buhl Foundation in NYC, the Brooklyn Museum, NYC and the Musée de la Photographie in Charleroi, Belgium. In Canada she is collected by the City of Toronto, the Royal Ontario Museum in Toronto, the Canada Council Art Bank in Ottawa and the Canadian Museum of Contemporary Photography in Ottawa.

Contributing Artist in These Exhibits

Chris Langstroth is a Toronto-based artist who works primarily in acrylics.

‘From a distance, Chris Langstroth’s works are stunning abstract paintings, but look closer and you’ll see distinct human shapes. By using thick paint and knives to apply multiple wet layers or dig through existing layers, he leaves evidence of his process in the finished product’.
by Alison Malone. “WHERE” magazine, 2007.

Preview magazine, November 2008 issue:
“This year, I have been concentrating, increasingly, on ways of representing the human figure (in whole or part).

I enjoy the physicality of thick paint and use knives to smear on one wet layer over another or to excavate through existing layers. Although I strive for a certain ‘visual plausibility’ in my work, representational accuracy is not my prime objective.

The most enigmatic and interesting qualities particular to painting, have to do with the transformation of pigment in paste to an image on canvas. I am, therefore seeking to retain some visual evidence of the process used in making the image as a subtext for reading or interpreting it.

In each painting, I’m searching for the most compelling combination of imagery and abstract paint quality,” says Chris Langstroth.

http://www.kurbatoffgallery.com/langstroth/0.htm