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TrepanierBaer

@trepanierbaer

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TrépanierBaer Gallery specializes in Canadian & International Contemporary Art.
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𝗥𝗢𝗡 𝗠𝗢𝗣𝗣𝗘𝗧𝗧 𝗔𝗧 𝗔𝗥𝗧 𝗧𝗢𝗥𝗢𝗡𝗧𝗢 𝟮𝟬𝟮𝟲 TrépanierBaer is pleased to announce that Ron Moppett's life-sized, sculptural installation titled DAWNLIGHTNINGFIELD (2014), will be on view at the National Gallery of Canada Booth P1 for today, the final day of Art Toronto. The installation is on reserve for acquisition for the National Gallery of Canada collection. Ron Moppett's rare political work, DAWNLIGHTNINGFIELD (2014) is a reflection on home, migration, and the trauma of war. Also on view at TrépanierBaer's Booth 111 is Moppett's playful and colourful painting titled May, 2026. Drawing inspiration from a variety of historical and cultural styles, Moppett offers a diverse view of pop culture and a glimpse into the dailiness of life. A brilliant colourist, Moppett stencils and distills shapes with oil and acrylic paint, creating complex picture puzzles that hold multiple layers of meanings. Ron Moppett's career spans over 50 years, and we are proud of his accomplishments. Visit both booths to experience the scope of his practice, and the presence of his work. #ContemporaryArt #Painter #Painting #CanadianArt #CanadianArtist @natgallerycan @trepanierbaer @art_toronto Image: DAWNLIGHTNINGFIELD, 2014 Oil and acrylic painting with mixed media 7 feet × 9 feet × 6 feet - approx Image: May, 2026 Acrylic, oil, alkyd on canvas 2 panels: 72” x 60” – each 72” x 122.5” – overall Image: View of the Bay, 2026 Acrylic, oil, alkyd / canvas 60” x 72” by @trepanierbaer
𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗗 𝗔𝗥𝗧𝗜𝗦𝗧: 𝗖𝗔𝗥𝗢𝗟 𝗪𝗔𝗜𝗡𝗜𝗢 𝗔𝗥𝗧 𝗧𝗢𝗥𝗢𝗡𝗧𝗢 𝗖𝗟𝗢𝗦𝗘𝗦 𝗧𝗢𝗗𝗔𝗬 𝗔𝗧 𝟲𝗣𝗠 Today is the final day of Art Toronto, and Carol Wainio’s Hurry Up and Slow Down (2021) is on view at our booth (111). Carol Wainio was born in Sarnia, Ontario, in 1955. A recipient of the 2014 Governor General’s Award in Visual and Media Arts, she is known for paintings built from borrowed images: fables, book illustrations and postcards from earlier centuries, reworked into scenes of her own making. The hare, a figure that recurs throughout her recent paintings, appears in Hurry Up and Slow Down. Wainio has long been drawn to Walter Benjamin’s writing on how experience changes as life accelerates. In “The Storyteller,” Benjamin ties deep experience to patience and idleness: “Boredom is the dream bird that hatches the egg of experience.” It is a fitting thought to bring to a painting with this title. Visit us at Booth 111 and see her work in person. #ContemporaryArt #Painter #Painting #CanadianArt #CanadianArtist Image: Hurry Up Slow Down, 2021 Acrylic on Canvas 54” x 76” (framed) @trepanierbaer @cewainio @art_toronto by @trepanierbaer
𝗦𝗜𝗠𝗢𝗡𝗘 𝗘𝗟𝗜𝗭𝗔𝗕𝗘𝗧𝗛 𝗦𝗔𝗨𝗡𝗗𝗘𝗥𝗦 𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗗 𝗔𝗥𝗧𝗜𝗦𝗧, 𝗕𝗢𝗢𝗧𝗛 𝟭𝟭𝟭 𝗖𝘆𝗮𝗻𝗼𝘁𝘆𝗽𝗲𝘀, 𝗖𝘂𝘁 𝗮𝗻𝗱 𝗪𝗼𝘃𝗲𝗻 Simone Elizabeth Saunders begins each work with an original drawing. The drawing is then transferred to paper using cyanotype, one of the earliest photographic processes. Paper is coated with a light-sensitive solution and exposed to ultraviolet light, and wherever the light reaches the surface it turns a deep, luminous blue. Once rinsed in water, the image is fixed. When the cyanotypes are complete, Saunders cuts them into strips and weaves them back together by hand. The drawing is taken apart and reassembled, and its lines shift, overlap, and interrupt one another. Each work becomes a single image built from many, and it carries the marks of both the drawing and the hand that rebuilt it. TrépanierBaer is pleased to present these works at Art Toronto, where they are available for purchase at Booth 111, Metro Toronto Convention Centre, through November 1. Image: Requiem Renewed, 2026 Woven Cyanotype 12” x 9” (framed) @art_toronto @trepanierbaer @simoneelizabethsaunders Image: Requiem Revived, 2026 Woven Cyanotype 12” x 9” (framed) @art_toronto @trepanierbaer @simoneelizabethsaunders Image: Requiem Relieved, 2026 Woven Cyanotype 12” x 9” (framed) @art_toronto @trepanierbaer @simoneelizabethsaunders by @trepanierbaer
𝗣𝗔𝗧𝗘𝗥𝗦𝗢𝗡 𝗘𝗪𝗘𝗡 (𝟭𝟵𝟮𝟱 - 𝟮𝟬𝟬𝟮) 𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗗 𝗔𝗥𝗧𝗜𝗦𝗧, 𝗕𝗢𝗢𝗧𝗛 𝟭𝟭𝟭 Paterson Ewen was born in Montréal in 1925. He studied at McGill University and the Montréal Museum School of Fine Art and Design. Initially a figurative painter, he moved into abstraction in the 1950's when he developed connections with the avant garde group known as the Automatistes. In 1968 he moved to London, Ontario, and became part of its influential art community that included Canadian luminaries such as Greg Curnoe, Jack Chambers, Murray Favro, Ron Martin and Kim Ondaatje. Image: Untitled, 1999 Watercolour on paper 22” x 16” @art_toronto @trepanierbaer #ArtToronto #ContemporaryArt #CanadianArt #VisualArt #ArtTO In 1971 Paterson Ewen began carving and gouging sheets of plywood using an electric router, and painting directly onto the surface of the panels. This radical move expanded the “language” of landscape painting, and established Ewen as one of the most progressive and innovative artists working in Canada at the time. He gave his subjects wind, thunderstorms, moons, eclipses, and planetary phenomena, and a new physical language making the paintings tactile objects as well as images. Image: Sledgehammer Flower Bed, 1999 (Sledgehammer piece # 2) Pastel on paper 22" x 30”/ 55.8 x 76.2 cm @art_toronto @trepanierbaer Fascinated with the materiality of the supports he painted on, and as an extension of his gouged painted plywood pieces, Paterson Ewen worked with the printmaker Helmut Becker who made handmade paper. From the early 1970s until the late 1990s, he painted, drew, and experimented with paper. The texture of the handmade paper, its ridges, depressions, and irregular fibers suggested terrain, weather and celestial surfaces similar to that of his gouged plywood works. Image: Sledgehammer CIRCLES, 1999 Pastel on paper 12” x 16” @art_toronto @trepanierbaer Exploring a variety of media including watercolour, pastel, and acrylic paint applied on various types of paper, Paterson Ewen made a series of important works titled The Sledgehammer works. using a rubber hammer and pounding the pigment directly into the paper. The hamm by @trepanierbaer
//𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗗 𝗔𝗥𝗧𝗜𝗦𝗧// 𝗟𝘂𝗮𝗻𝗻𝗲 𝗠𝗮𝗿𝘁𝗶𝗻𝗲𝗮𝘂 Born in Saskatoon, Saskatchewan, Luanne Martineau studied at the Nova Scotia College of Art and Design and the Alberta College of Art + Design, where she received her Fine Art Diploma in 1993, and completed her MFA at the University of British Columbia in 1995. Luanne Martineau lives and works in London, Ontario. A tenured professor at the University of Victoria from 2002-2011 and Concordia University from 2011-2025, Martineau is now professor emeritus of Painting and Drawing at Concordia University. Image by the artist: Nod, 2026 Coloured construction paper pulp, cotton rag paper pulp, archival glue, acrylic clear matt medium, 100% cotton twill strapping, steel rings 11.5” x 17.0” x 6” @art_toronto @trepanierbaer @luannemartineau Over her career, Martineau has engaged in profound and playful uses of many media and processes. Working with felting, collage, weaving, stitching or machine knitting, and using various textiles and papers including her own hand made papers her practice has skillfully and critically navigated the fertile distinctions between art, craft, and design. Her works are densely layered in both their material process, and citations of art history and material culture, integrating references as diverse as Abstract Expressionism, Minimalism, and traditionally “feminine” textile-based craft techniques commonly associated with the 1970s feminist art movement. Image by the artist: Water Mirror, 2026 Coloured construction paper pulp, cotton rag paper pulp, archival glue, acrylic clear matt medium, 100% cotton twill strapping, steel rings 23” x 24” x 1.5" @art_toronto @trepanierbaer @luannemartineau Martineau adapts so-called “low art” handiwork techniques to create confident, virtuosic objects that fuse abstraction and representation. Rejecting the cool, alien qualities of a cerebral minimalism, Martineau’s works are replete with visceral references to the body and its messiness—to human sexuality, violence, death, and decay. For the artist, these “biomorphic forms” acknowledge “the poured works of Lynda Benglis, the grotesque textile minimalism of Eva Hesse, by @trepanierbaer
𝐀𝐫𝐭 𝐓𝐨𝐫𝐨𝐧𝐭𝐨 𝟐𝟎𝟐𝟔, 𝐁𝐨𝐨𝐭𝐡 𝟏𝟏𝟏 //𝐂𝐄𝐋𝐄𝐁𝐑𝐀𝐓𝐈𝐍𝐆// 𝐎𝐬𝐜𝐚𝐫 𝐂𝐚𝐡𝐞́𝐧 (𝟏𝟗𝟏𝟔-𝟏𝟗𝟓𝟔): 𝐓𝐡𝐫𝐞𝐞 𝐖𝐨𝐫𝐤𝐬 TrépanierBaer is delighted to offer for sale three remarkable works by Oscar Cahén. Toy for Adults, 1952, Percussion, 1955 and the original illustration for the 1952 cover of the March 15th issue of Maclean’s magazine. Together these works represent Cahén’s most advanced period. The groundbreaking painting Toy for Adults, 1952 marks a turning point in Oscar Cahén’s approach to abstraction. As the late Jeffrey Spalding (1951-2019) wrote in his essay titled “Tribute” published in 2017, “Then in 1952, he displayed a work of a type unprecedented in his career, the audaciously supercharged coloured abstraction Toy for Adults, 1952. Its box-like composition recalls Adolph Gottleib’s Pictographs. Cahén is off and running. His explorations will lap all of his Canadian contemporaries: he is trying to invent new ways to construct abstract paintings” (58). Percussion, 1955 is a stunning example of Oscar’s vibrant colour sense, freewheeling bravado brush work, and compositional skills. His love of jazz evident in its lively rhythmical composition. Many of Oscar’s fellow artists in Painters 11 can be seen in this singular work. As Ray Mead once said, “A little bit of Oscar would turn up in all of us eventually." The Lineman (1952) showcases Canada’s best-loved illustrator and his uncanny sense of the moment with visual acuity and humour. Canada was on a roll post war and the 1950s where a time of unprecedented growth. Transnational communication was vital to the country and Canada’s national identity. Who better than the master illustrator and communicator, Oscar Cahén, to express the moment with a lively, visually engaging, complex, and humorous depiction of the days' latest confounding technology. We look forward to welcoming you to our Booth 111, Thursday, October 29th and throughout the fair. @art_toronto @trepanierbaer Toy for Adults, 1952 FAO 174 Oil on canvas 32” x 41” Percussion, 1955 Watercolour, ink and gouache 29” x 38.75” / 73.6 x 98.4 cm - unframed 38.75” x 46.4” / 86.4 x 116.8 cm – framed The Lin by @trepanierbaer
//ART TORONTO, BOOTH 111// Each autumn, the city turns its attention to looking. For four days, the Metro Toronto Convention Centre becomes a place where work can be met in person, at its own scale, and in conversation with the people who make and show it. @trepanierbaer @art_toronto Artist Image: @aitkenjen TrépanierBaer is pleased to participate in Art Toronto, October 29–November 1. Visit us at Booth 111 to see works by Jen Aitken, Vikky Alexander, Oscar Cahen (1916–1956), James Carl, Paul Kuhn, Ron Moppett, Simone Elizabeth Saunders, Kent Merriman Jr., Han Sungpil, and Carol Wainio. We are also thrilled to feature wall-mounted paper sculptures from Luanne Martineau’s recent series, Karst Valleys, alongside several spectacular works on paper by the renowned Canadian artist Paterson Ewen (1925–2002). As always, expect a few surprises from our gallery inventory. We look forward to welcoming you on Thursday, October 29th through to Sunday, November 1st. Artist Image: @vixen1234 Booth 111 is marked in the show guide; our team will be there to welcome you. -The fair is held in the North Building of the Metro Toronto Convention Centre, 255 Front Street West - short walk from Union Station. - Public hours are Friday, 12 to 9pm; Saturday, 12 to 7pm; and Sunday, 12 to 6pm - VIP Hour each morning from 11am. - Opening Thursday evening with First Look at 4pm and Opening Night at 6pm #ArtToronto #ArtToronto2026 #ArtTO #TorontoArt #TorontoArtFair Artist Image: Oscar Cahen Artist Image: James Carl #ArtToronto #ArtToronto2026 #ArtTO #TorontoArt #TorontoArtFair Artist Image: Paul Kuhn Artist Image: @luannemartineau Artist Image: @k.m_jr Artist Image: Ron Moppett Artist Image: @simoneelizabethsaunders Artist Image: @han_sungpil Artist Image: @cewainio by @trepanierbaer
//ART TORONTO// A busy week in the gallery, and it's only Tuesday! We're looking forward to seeing you all in Toronto from October 29th - November 1st. Come and find us at booth 111. We have an exciting collection of work. A few, but not all of the artists we will showcasing... Vikky Alexander @vixen1234 Leanne Martineau @luannemartineau Oscar Cahen Han Sungpil @han_sungpil Jen Aitken @aitkenjen DaveandJen @hermeticferns James Carl Simone Elizabeth Saunders @simoneelizabethsaunders @art_toronto #contemporarypainting #trepanierbaer #canadianartist #canadiancontemporaryart #artTO by @trepanierbaer
TrépanierBaer Announces Representation of Faye HeavySheild Coyote Calls Every so often, the coyote calls. If you listen closely, its voice can feel like an epiphany or the revelation of something neglected. TrépanierBaer is honoured to announce its representation of Faye HeavyShield, one of Canada’s most important contemporary artists. A member of the Kainai Nation and Blackfoot Confederacy, HeavyShield lives and works on the Blood Reserve in southern Alberta. For more than four decades, her practice has encompassed sculpture, installation, drawing, photography, sound, and text. Grounded in Kainai land, language, cultural knowledge, family history, and her experience as a Blackfoot woman, her work explores memory, ancestry, belonging, community, and the continuity of generations. As HeavyShield has said, Blackfoot is her first language; “Art is my second.” Her work has been presented and collected nationally and internationally. Recent projects include a forty-year retrospective that toured Canada from 2022 to 2024, her first solo exhibition at the Art Gallery of Ontario, and the 2025 Sharjah Biennial. In 2027, Glenbow will unveil a monumental four-storey installation by HeavyShield. TrépanierBaer looks forward to supporting her work for years to come. To find out more follow the link in our bio. @trepanierbaer @faye.heavyshield #trepanierbaer #canadianartist #canadiancontemporaryart by @trepanierbaer
//WIP WEDNESDAY// Opening reception: Saturday, October 17 1:00 – 5:00 p.m. Artist in attendance, opening remarks and artist walk through at 1.30pm. Ryan Sluggett is an artist whose primary focus lies in painting and drawing, with interests in animation, installation and printmaking. His Cubist inspired works, rich in art-historical references, often reflect the contemporary world from various vantage points, addressing suburban angst and pop culture themes. #contemporarypainting #trepanierbaer #canadianartist #canadiancontemporaryart #wip @trepanierbaer by @trepanierbaer
//RYAN SLUGGETT// Opening: Saturday October 17th, 2:00 - 5:00pm "Ryan Sluggett’s art captures the strangeness of being human under the conditions of 21st century postmodernity with great power and critical energy." Matthew McManus JOIN US @trepanierbaer by @trepanierbaer
//NOT TO BE MISSED// Vanishing Fields: The Memory of a Changing Earth An intimate evening in the gallery, shining light on the work of Han Sungpil and a recent project conceptualized in residence at the winery La Rioja Alta, Spain. These works are currently on view in the gallery, and the photogravures are exceptional and not to be missed. --- Photogravure is an old printmaking process developed in the 1800s that uses photography to make fine, richly toned prints. The technique grew from Henry Fox Talbot’s experiments with photographic engraving and was later refined by Karel Klíč in the 1870s. It is still practiced today by fine art printmakers and contemporary artists who value its distinctive, archival quality. The image is transferred onto a plate coated with a light-sensitive polymer. Light hardens the polymer in some areas, while the softer, unexposed areas are washed away in water, leaving tiny recesses in the plate’s surface. These hold ink, much like the lines of an engraving. A fine dot pattern, exposed separately, gives the plate its texture and allows it to reproduce the soft greys and subtle tones of a photograph. The plate is then inked and run through a press, transferring the image onto paper. “At La Riajo Alta I found the specific material language I had been searching for. Inside the winery’s centuries-old cellars, time has left its mark not in words but in substance: in the dark, wine-stained surfaces of oak barrels that have absorbed decades of fermentation, in the rust-coloured traces that bleed down cellar walls like geological strata, in the slow oxidation of wood that has held and shaped some of the most exceptional vintages in Spanish history. These are not merely aesthetic details. They are a form of archive, a record of accumulation, of seasons survived, of a winemaking tradition that has persisted across drought and abundance alike. To photograph these surfaces was to photograph time itself, compressed and made visible.” Han Sungpil @han_sungpil @lariojaaltasa by @trepanierbaer

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