Photos, videos and docs of John FitzGerald, with the keywords: "bench"

Happy Bench Monday!

nobody@ipernity.com (John FitzGerald) — Mon, 08 Jun 2026 01:02:56 +0000

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Happy Bench Monday!

nobody@ipernity.com (John FitzGerald) — Mon, 01 Jun 2026 18:35:27 +0000

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Happy Bench Monday!

nobody@ipernity.com (John FitzGerald) — Mon, 27 Jan 2025 03:11:06 +0000

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A warm winter's day in Toronto in January, 2013. The temperature reached a balmy 8C.

Happy Bench Monday!

nobody@ipernity.com (John FitzGerald) — Mon, 11 Sep 2023 20:29:49 +0000

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St. Clair Avenue West at Spadina Road, Toronto.

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nobody@ipernity.com (John FitzGerald) — Thu, 17 Jun 2021 15:21:47 +0000

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nobody@ipernity.com (John FitzGerald) — Thu, 18 Mar 2021 00:27:25 +0000

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I'll have a cheerier one tomorrow

nobody@ipernity.com (John FitzGerald) — Sat, 14 Dec 2019 17:49:25 +0000

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nobody@ipernity.com (John FitzGerald) — Tue, 11 Jun 2019 20:04:12 +0000

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I managed to include my shoe at bottom right. I fear my career in acrobatics is drawing to a close.

Not exactly as shown

nobody@ipernity.com (John FitzGerald) — Tue, 26 Mar 2019 19:08:48 +0000

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Installation 30

nobody@ipernity.com (John FitzGerald) — Fri, 08 Feb 2019 23:48:15 +0000

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The First Waitresses on the Moon by Artemis Bagshaw, Spadina Road, Toronto.

Bagshaw primarily works with installations. By choosing mainly formal solutions, Bagshaw seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.

Her installations sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By manipulating the viewer to create confusion, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.

Her works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By emphasising aesthetics, she tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.

Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts.

Installation 27

nobody@ipernity.com (John FitzGerald) — Wed, 31 Oct 2018 18:22:56 +0000

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nobody@ipernity.com (John FitzGerald) — Wed, 14 Feb 2018 22:21:55 +0000

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nobody@ipernity.com (John FitzGerald) — Thu, 30 Nov 2017 03:36:45 +0000

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Installation 11

nobody@ipernity.com (John FitzGerald) — Fri, 30 Jun 2017 22:34:46 +0000

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