“Particules bleues” at Galerie Simon Blais, Montreal


Particules bleues

Extension, 2015, acrylic paint/ink on panel, 5 x 5 in.

Marie-Eve BeaulieuCarol BernierMichel CampeauJean-Sébastien DenisCatherine FarishDenis JuneauMark Stebbins, Mark Francis, JoeYan Hui

July 15 – August 5, 2017
Galerie Simon Blais, Montreal

The works in this exhibition will offer, each in their own way, a uniquely microscopic view of a wider world. Minute, predominantly blue, particles will lead the viewer’s gaze into the medium that, at this enlarged scale, will appear strange and disconcerting. 

Brought together here will be works by artists Marie-Eve Beaulieu, Carol Bernier, Michel Campeau, Jean-Sébastien Denis, Catherine Farish, Mark Francis, JoeYan Hui, Denis Juneau and Mark Stebbins.

Chacune des œuvres de cette exposition offre, à sa manière, une vision microscopique unique d’un environnement plus vaste. Ces particules minuscules, à la dominante de bleu, font pénétrer le regard du spectateur dans la matière qui, à cette échelle agrandie, nous apparaît étrangère et déroutante.

À l’occasion de cette exposition, le travail de différents artistes sera réuni : Marie-Eve Beaulieu, Carol Bernier, Michel Campeau, Jean-Sébastien Denis, Catherine Farish, Mark Francis, JoeYan Hui, Denis Juneau et Mark Stebbins.

Matthew Ryan Smith – “Mark Stebbins: Pixel, Paxel, Puxel”

Writer and curator Matthew Ryan Smith wrote about my work in his essay “Mark Stebbins: Pixel Paxel Puxel” to accompany my exhibition As Raindrops Become The Rain  Lorsque les gouttes deviennent pluie at Galerie Simon Blais, Montreal.

Read it here in English or French (pdf format).

Learn more about Matthew Ryan Smith and his many writing and curatorial projects at www.matthewryansmith.com.

“Among the Jaggies, Along the Seams” at Wil Kucey Gallery, Toronto


Wil Kucey Gallery is pleased to present Among the Jaggies, Along the Seams, a solo exhibition of recent paintings by London, Ontario-based artist Mark Stebbins. The exhibition is on view from Friday Nov. 4 through Nov. 26 Dec. 3, 2016, with an opening reception on Nov. 4 from 6 to 9 pm.
[update: exhibition has been extended to Dec. 3]

Mark Stebbins’ small-scale acrylic paintings overflow with detail, often giving the appearance that they are composed of other media. Grids of coloured squares might imitate pixels, rows of tiny lines can become stitches in patterned textiles. Stebbins’ work generally explores the relationships between various visual media, drawing from the history and traditions of abstract painting, handicrafts, textiles, digital images, pixel art and glitch art. His compositions allow these forms to collide, merge and transform.

The works in this exhibition conflate the appearances of digital and analog painting. In many of the new works Stebbins opts for a layered, cut-and-paste aesthetic. The appearance is of having been assembled with digital image editing software such as Photoshop. Hard-edged shapes made of pixels, textiles, brushstrokes and other painted textures are layered against each other and a variety of backgrounds: unprimed canvas, painted skies, grey and white checkerboards (indicative of the transparent alpha channel in Photoshop), bare wood panel, the gallery wall. The playful, spatial ambiguity arising from these multiple backgrounds and shiftable layers suggest an environment in which everything is malleable and in flux.

The digital tools within image editing software are generally based on real world analogues: tools, techniques and processes from painting and photography; for example, the brush, eraser, dodge and burn tools. For Stebbins, the influence comes full circle as the logic of the virtual workspace is re-imported into the physical workspace of his paintings.

Other new paintings in the exhibition further the comparison with digital imaging by adopting an entirely gridded/pixelated field. Using acrylic ink to paint thousands of coloured squares, Stebbins works “pixel-by-pixel” to assemble what looks like gestural brushwork captured in a low-resolution digital image. These brushstrokes arise from nothing more than the repetition and shifting of patterns within a grid, and therefore do not trace the hand of the artist in the way one might expect. Instead, the artist’s hand is present in the precise, repetitive labour of the works’ construction, aligning more closely with a craft discipline such as cross-stitch than expressionist painting. Stebbins’ blockly pixelation at once implies digitization in appearance and handicraft in method. It brings together new frontiers of image-making both past and present: in structure alluding to the rich history of the grid in modernist abstract painting, in colour-shifting palettes mimicking the experimental aesthetics of contemporary glitch art.

The paintings in this exhibition celebrate these types of crossovers and connections. The “jaggies”–evident pixelation, especially stair-stepped diagonal and curved lines–might be a critical term in computer and video game graphics, but Stebbins deploys the word and aesthetic enthusiastically. His hand-painted pixels straddle visual domains and traditions, rewardingly placing the viewer among the jaggies and along the seams.

“Repeat After Me” group exhibition at FCP Gallery, Toronto

Repeat After Me
A marriage of visual art and pattern

February 1 –March 12, 2016
Opening reception Wednesday, February 10, 5:00 –8:00 pm

FCP Gallery
First Canadian Place, 100 King St West, Toronto

Kelly McCray

Robert Davidovitz (Lonsdale Gallery), James Fowler (jamesfowlerart.com), Owen Johnson (owenjohnsonart.com), Caroline Larsen (General Hardware Contemporary), Sam Mogelonsky (Katzman Contemporary), Mark Stebbins (markstebbins.ca), Penelope Stewart (penelopestewart.ca)

Gallery hours: 11:30 –2:30, Monday –Friday
*Please call the FCP Events Office at 416-862-6290 to ensure that the
exhibition is available for viewing.


upper left:  James Fowler, Parade, 2015, Acrylic on canvas, 36 x 36″
lower left:  Mark Stebbins, Two Brush Painting, 2016, Acrylic ink on wood panel, 11 x 14″
right:  Owen Johnson, Untitled (Paisley Pattern) No. 4, Glass murrine, fused and cold worked panel, 20 x 20″

Art Toronto 2014 – Galerie BAC


Galerie BAC is showing my work again at Art Toronto (Toronto International Art Fair) this year.  Look for the gallery at booth 1106 in the NEXT Section.

A preview of my new works is currently online at Artsy.net;  see https://artsy.net/artist/mark-stebbins/works.

Art Toronto 2014 takes place from October 24 – 27 at the Metro Toronto Convention Centre.  An Opening Night Preview will take place on October 23.

Other artists being shown at the fair by Galerie BAC include Scott Bertram, Jordan Broadworth, Marc-Antoine Côté, André Dubois, Marcel Dzama, Andrea Kastner, Virginie Mercure, Catherine Plaisance and Matthew Schofield.

For fair hours, tickets, directions and more see arttoronto.ca.


“Making Methods” at the Judith & Norman Alix Art Gallery

Making Methods JNAAG Heap


Making Methods: Becky Ip, Samantha Mogelonsky, Mark Stebbins 

Judith & Norman Alix Art Gallery, Sarnia, Ontario.

June 6 to August 10, 2014

Opening reception June 6 at 6:00 pm

The works in Making Methods focus on concepts of repetition, detail, and labour as a means of production. Arising in an era when rapid digital and non-physical experiences are commonplace, each artist’s engagement with materiality highlights a potential modernization of craft-based practices and as a result, an increased focus on hand-rendered art. Through the juxtaposition of these unique artistic processes, chance, memory, experimentation, and a wide range of references from popular cultural coalesce in inherently transformative and unpredictable ways.

Making Methods was curated by Linda Jansma and first shown at the Robert McLaughlin Gallery, Oshawa, in 2013. Curatorial support for the JNAAG exhibition was provided by Darryn Doull.

A 72-page catalogue accompanies the exhibition, featuring colour photography and essays by Linda Jansma and Darryn Doull. The catalogue can be purchased from the gallery as well as through ABC Art Books Canada on Amazon.ca.

Thank you to the Canada Council for the Arts and the Ontario Arts Council for their support of this exhibition.

“Picture Elements” solo exhibition at the Latcham Gallery


Mark Stebbins: Picture Elements

The Latcham Gallery, Stouffville, Ontario

February 22 to March 29, 2014
Opening reception Saturday March 1st from 1:00 to 3:00 pm.

Picture Elements, curated by Chai Duncan, is an exhibition of new work as well as a mini-survey of selected pieces from 2008 to 2012. Thirty-five pieces are on display, making this my largest exhibition to date.

Twenty-one new pieces explore themes of authenticity and imitation, frequently using fractured and self-reflexive pictorial structures. These geometric compositions playfully set up contrasts between various analog and digital media (all rendered by hand), modes of representation, and degrees of realism. In a number of these new pieces, I’ve quoted directly from my own work, copying and/or remixing parts of older pieces. Trompe l’oeil depictions of frames, shadows, and support materials, along with the continued incorporation of recycled byproducts of my painting process, suggest a consideration of creative processes and vocabularies that looks beyond the works themselves.

Fourteen older works are hung interspersed with the new, tracing the evolution of particular elements and ideas within my work back to 2008.

A 58-page catalogue is available through the gallery, featuring an essay by Chai Duncan as well as images of all works in the exhibition.

Thank you to the Canada Council for the Arts for their support of this exhibition.

“Making Methods” at the Robert McLaughlin Gallery

Making Methods (Custom) (2)


Making Methods: 

Becky Ip, Sam Mogelonsky, Mark Stebbins


Curated by Linda Jansma

The Robert McLaughlin Gallery, Oshawa, Ontario

24 August – 3 November

Opening Reception: RMG Fridays, 6 September, 7-10pm


The works in Making Methods focus on concepts of repetition, detail, and labour as a means of production. They arise in an era when rapid digital and non-physical experiences are commonplace. In this exhibition, art by three emerging Toronto-based artists demonstrate a deliberate engagement with the physical, through material. This modernization of craft-based processes, could indicate an increased focus on hand-rendered art.

Although each of the artist’s work is steeped in process, it is not, however, the process alone that makes their work compelling. Becky Ip’s meticulous graphite drawings are translated to paintings on mylar and recorded to experimental film.  Samantha Mogelonsky’s sculptures are experiments in material and labour, each made with disarmingly excessive method. Mark Stebbins’ paintings deal in the art of the error—the glitch. His meticulous process is a manipulation of material, which includes paint and ink, allowing us to draw comparisons to digital images as well as textiles such as knitting and embroidery.

72- page catalogue will accompany the show, featuring colour photography and essays by curators Linda Jansma and Darryn Doull. The catalogue will be available for purchase from The RMG Bookstore, as well as through ABC Art Books Canada.

Making Methods will travel to the Judith & Norman ALIX Art Gallery in Sarnia, Ontario, in Spring 2014.

Thank you to the Canada Council for the Arts and the Ontario Arts Council for their support of this exhibition.


Making Methods invitation

“Peinture Extrême” at Galerie BAC, Montreal



Peinture Extrême : Se creuser les méninges opens June 29 at Galerie BAC, Bigué Art Contemporain in Montreal and shows until July 27, 2013.  An opening reception will take place on Thursday, July 4 at 6:00 pm. 

This group exhibition features work by Scott Bertram, Jordan Broadworth, André Dubois, John Kissick, Marc Nerbonne, Catherine Plaisance and Mark Stebbins. 

The exhibition at Galerie BAC is part AGAC’s (Association des galeries d’art contemporain) Montreal-wide celebration of painting, Peinture Extrême.


June 29 to July 27, 2013
Opening reception: Thursday July 4 at 6:00 pm


For more information :

Philippe Bigué