Profiles of Canadian Artists
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She has lived in Austria, Belgium, the Dominican Republic, and Japan as well as different parts of Canada. She has exhibited widely and her paintings and mixed media constructions are represented in numerous public and corporate collections. In addition to pursuing her art, Andrea has taught, worked as a consultant and since 1964 has used art in psychiatric therapy in various Montreal hospitals. Andrea is one of the founders and currently Co-President of the Canadian Hungarian Artists Collective (CHAC), an association of professional artists and supporters of the arts, to create educational and showcasing opportunities for established, emerging and immigrant Canadian artists of Hungarian descent. She organizes a biannual art symposium in Tantramar, New Brunswick and was the key coordinator behind a 2006 exhibition of Hungarian Canadian artists entitled “Reflexions Canada-Hongrie” at the Stewart Hall Gallery in Pointe-Claire, Montreal.
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Anna Noéh was born in Hungary in 1926. She studied at the Academy of Applied Arts, Budapest (1952-56); and the Academy of Fine Arts, Vienna (1956-57). In 1957, she immigrated to Montreal, Quebec.
Although her art works are created mainly in acrylic, she also uses oil, color graphite, pencil, silkscreen, photolithography and watercolour. She is best known for her scenes of Inuit daily Life in the Canadian Arctic. She first visited Baffin Island in 1970. Click on the images for larger formats.
To read more about Anna Noeh in Hungarian click here.
Her commissions include medals, coins, graphics, illustrations, cards. Everyday we carry a piece of Canadiana created by Dora de Pédery-Hunt in the form of Canadian coinage bearing the portrait of Queen Elizabeth II. She completed works for the Chapels of Notre Dame Academy at Waterdown, Ontario, and the Northern Commercial and Technical School, Toronto. She has lectured internationally for galleries and other groups and taught for many years at the Ontario College of Art. Two of her sculptures of Dr. Frances Loring are in the collection of the National Gallery of Canada, one of artificial stone, the other of bronze. Recipient of numerous awards, including the Order of Canada (O.C.), several honourary doctorates and the J. Sanford Saltus Award, she has also been active in the Hungarian Canadian community as a past President of the Hungarian Helicon Society.
“Her sculpture is realistic but simplified. She has worked in a variety of mediums including clay, wood, bronze and plastics.” (source: Sculptors Society of Canada web site : http://cansculpt.org).
In 1965 her first significant exhibition of medals and miniature sculpture attracted a great deal of public attention and acclaim. Since then, her artistic career has skyrocketed and her reputation as an outstanding sculptress had become firmly established not only throughout Canada, but also internationally. Giving her a big boost in this direction was her authoring the first Canadian work on medal art entitled: "Medals". She has exhibited collections of sculptured jewelry ,designed the Canadian postage stamp honouring Sir Donald Smith as well as two gold coins for the Royal Canadian Mint, the 1976 Montreal Olympic Commemorative $100 and the $100 coin commemorating the International Year of Peace 1986.
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As a practicing artist with an active national and international exhibition record, Singer has received several public art commissions and her work is found in many private collections. She is a member of The Red Head Gallery and the Art Advisory Committee of The Koffler Gallery, and currently serves on the board of the Toronto Arts Council.
Her family’s immigration and exile experiences have served as important sources of creative inquiry in several of her works. Her installations employ multimedia techniques, often with cryptic texts to articulate cultural issues of disjuncture and perception. She is particularly interested in the intersection of public and private histories as well as in the way in which identity is constructed.
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From November 15-25 1956, Szilasi used his camera to document the Hungarian Revolution. Escaping from Hungary in 1957, Szilasi arrived in Halifax and later settled in Montréal in 1959. Employed by the Office du film du Québec, Szilasi worked on photography assignments in Montreal as well as in rural regions of Québec to document the province, particularly the rural regions. From 1979 to 1995, Szilasi was a photography teacher at Concordia University in Montréal.
A large part of his work is a continuing documentation of rural life in Québec--a document that includes landscapes, architecture, portraits and an accumulation of those significant details that help to sum up a manner of living. His first trip back to Hungary since his emigration marked the beginning of numerous visits where he would photograph family friends and various architectural sites-a shift in his style, a document to his belief that things have to be documented in the present, as everything is changing and is in eternal flux.
More info on Gabor Szilasi:
... at the Hungarian Academy of Applied Arts in Budapest from 1974 to 1979 coincided with the growing popularity of fibre production by artists from abroad. She has taught art at the Burlington Art Centre and given lectures at the Harbourfront Centre and Sheridan College in Toronto, Ontario.
Torma’s textile structures incorporate numerous techniques such as embroidery, patchwork, appliqué, quilting, and felting. Torma’s embroidered designs are often based upon her children’s drawings and hand writing. "This borrowing of images and compilation permits Torma to infuse her spiritual, personal, and mundane experiences with those of others" (Theresa Morin, 1996).
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She studied Photography at the University of Ottawa, and the Ottawa School of Art, and holds an Honours degree in Art History from Carleton University. Since completing her studies in 2000, she has been regularly showing her work in solo and group exhibitions throughout Canada. Her photographs have appeared in several publications, including two literary anthologies. She has received support for her art practice from both the Canada Council for the Arts and the Ontario Arts Council. She also writes about art and artists for a variety of publications.
Tors uses a variety of contemporary and historic photographic media to create pictures which consider the inherently contradictory nature of human existence, in particular, the paradoxical tug between humanity's fragility and resilience. Her work frequently focuses on the role of objects in peoples' everyday lives, what they reveal about them and their relationships with their surroundings. She often transforms her images into three-dimensional works by containing them in boxes or placing them on stands. The addition of depth to a two dimensional picture reinforces its identity as an object and suggests the physical presence of the person to whom the object belonged. Her ultimate goal as an artist is to try to identify hidden clues about the innermost core of human experience. This approach links her work to the traditional artistic practice of incorporating iconographic content into works of art. However, unlike artists of the past who deliberately inserted symbols into their work, Tors is involved in the task of exposing what she considers to be a pre-existing iconography inherent in the objects around her.
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Since his retirement Weiss has devoted most of his time to his art. Using a variety of metals and intricate carving and casting techniques, he has created remarkable art works including: “Expressions of Music in Solid Brass” which represents 24 relief carvings of musicians and musical images in solid brass, the Canadian Parliament Buildings, and a miniature scale model of St. Peter’s Basilica in Rome. The 2004 Olympic Games in Athens, was commemorated with his replica of the Acropolis.
Mr. Weiss continues to reside in Toronto, practising his craft with unending passion.
In 1995 he received a Bachelor of Fine Arts from the Academy of Visual Arts in Cluj, Romania and a Civic Education Diploma in Art Contemporain et Institutions (Université de Paris II.) Since 2002 he has been a member at the Enriched Bread Artists studios and teaches art at the Ottawa School of Art.
Weisz’s work includes abstract paintings and assemblages using a variety of mixed media painting techniques. Figurative images are occasionally embedded in an abstract background. Melted beeswax is applied with an iron and layered with oil paint worked onto the canvas surface with brushes and cloth. Often paint is applied through objects like a circular perforated screen or it is dripped on the canvas. Sometimes Weisz adds objects, like a bicycle reflector, small toy cars and action figures, or photo transparencies. This style and paintings, “dense and textured, show Weisz's mastery of colour”. (Anita Euteneier, February 10th, 2005 Artswatch – Ottawa Xpress). The viewer is forced to gain understanding through emotions without any preconceptions and through the tactile qualities of the surface thus establishing a certain connection, even catharsis between image, eye and soul.
Tavi's most recent work was on display in his studio at the Enriched Bread Artists annual open house; Ottawa Citizen art critic Paul Gessel wrote positively about the whole event and commented on Tavi's work: "Tavi Weisz has filled his studio with intense, eerie paintings and photographs exploring the dark side of life". (Ottawa Citizen, October 18th 2007).
Sources and more info on Tavi Weisz: