Category Archives: exhibitions

“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 (, Owen Johnson (, Caroline Larsen (General Hardware Contemporary), Sam Mogelonsky (Katzman Contemporary), Mark Stebbins (, Penelope Stewart (

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″

“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

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


“Geullichi” – solo exhibition in Seoul, South Korea

I’m happy to announce my upcoming solo exhibition in Seoul, South Korea.

Geullichi opens on April 25 at Galerie PICI in Seoul, co-hosted by the Embassy of Canada in Korea.

This exhibition is part of “Celebration 2013 – Year of Canada in Korea,” marking the 50th anniversary of the establishment of diplomatic relations between Canada and Korea.

An opening reception will take place at Galerie PICI from 5 to 7 pm on Thursday, April 25, 2013.

Galerie PICI is located at #122-22, Cheongdam-dong, Gangnam-gu, Seoul 135-955, South Korea.




Mark Stebbins acknowledges the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.

Mark Stebbins remercie le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil  a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

“Glitch-alikes” solo exhibition at Galerie BAC, Montreal

I’m pleased to announce my upcoming solo exhibition, Glitch-alikes, at Galerie BAC, Bigué Art Contemporain in Montreal.  The invitation and press release are below.

Galerie BAC, Bigué Art Contemporain is proud to present the first Montreal solo show of the Toronto-based artist, Mark Stebbins. The exhibition Glitch-alikes will be presented from September 6th to September 29th, 2012, with an opening reception taking place on September 6 starting at 5:00 pm.

Mark Stebbins has become known for small, complex abstract paintings that deal with themes of information, transformation, memory, craft, labour and decay. In Glitch-alikes, Stebbins presents a new body of work that represents both a thematic continuation and a visual tangent to his previous work.

Glitch generally refers to the failure of some system. In its pure form, glitch is an unanticipated error or spontaneous malfunction. In contrast, the “glitch-alike”–a term coined by Iman Moradi–is the result of conscious manipulation by an artist, a purposely induced or synthesized failure.

When an electronic failure distorts visual material, the results can be strangely compelling. Glitched digital images often fragment in ways that reveal something about the structure of the underlying data, resulting in striated bands of pixels, misaligned patterns, abrupt palette shifts and random noise.

Stebbins’ Glitch-alike body of work combines two distinct elements. Firstly, the images refer to the artist’s studio process by incorporating remnants of dried paint scraped from Stebbins’ palette and mixing cups. These remains constitute a sort of accidental imagery, harvested in much the same way a digital glitch artist might hunt for the chance occurrence of pure glitch. Secondly, Stebbins mimics the aesthetics of digital glitch by surrounding the palette residue with elaborate pixel matrices, which he renders by hand in acrylic ink, square-by-square.

The result is an inversion of implied intentionality. Paint strokes and smears that might read as expressive gesture are in fact unintentionally created by-products of past paintings, saved and catalogued by the artist for reuse. In contrast, what appear as unintended failures of digital images are in fact the most laboured aspects of the pieces. On closer inspection, these pixel grids are undeniably expressive in a way that could only be the result of a human hand, containing both a nuanced imprecision in form and a meticulous consideration of subtle tonal variation and patterning.

What to make of these glitchy images, these glitch-alikes? These intimately scaled pieces continue to explore themes found in Stebbins’ past work, including the transformation and decay of information. The artist’s slow and deliberate creation of glitch-alike images can be seen as a sustained meditation on the inherent instability of recorded information, and as such, on change and loss in general. But in gleaning the residue of his studio process, Stebbins suggests that glitch can be celebrated as a reclamation of error. In glitch there is also hope: a hope that in failure, something new and beautiful will emerge.

Mark Stebbins was born in Sarnia, Ontario and currently lives and works in Toronto. He has received numerous awards for his art, most notably an Honourable Mention in the 2010 RBC Canadian Painting Competition, Best in Show and Best in Drawing at the 2010 Toronto Outdoor Art Exhibition, the 2009 Halifax Mayor’s Award of Distinction in Contemporary Visual Arts and Visual Arts Nova Scotia’s Emerging Artist of the Year for 2009.  His work is included in public and private collections, including the RBC Royal Bank of Canada, the Canada Council Art Bank, and the Halifax Regional Municipality. He received a B.F.A. from the University of Western Ontario in 2002 and an LL.B. from Schulich School of Law at Dalhousie University in 2008.

For further information, contact Galerie BAC, Bigué Art Contemporain at 514-508-4099 /