“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 / info@galeriebac.com

Arc Poetry Magazine

Issue 68 of Arc Poetry Magazine is now on news stands and features my piece Division on the cover.  There’s also a seven-page spread showing a variety of my pieces in the middle of the magazine.

Two of the pieces depicted are brand new: a little preview of work that will form part of my upcoming solo exhibition, Glitch-alikes, at Galerie BAC, Bigué Art Contemporain in Montreal.  Glitch-alikes opens September 6 and will be on view through September 29, 2012.

Since its debut in 1978, Arc Poetry Magazine, Canada’s only poetry-exclusive forum, publishes new work by Canada’s most exciting new and established poets, alongside considered discussions of the form through articles, interviews and book reviews.  Each issue also features a showcase on the work of one Canadian visual artist.  Arc Poetry publishes three issues per year: summer, winter, and a themed fall Arc Annual.

Toronto Outdoor Art Exhibition, July 8-10, 2011

I will be showing and selling work again this year at the Toronto Outdoor Art Exhibition (TOAE), which takes place this coming weekend, July 8-10.

Visit me at booth 113 to see a body of brand new work being exhibited for the first time.

July 8, 9 & 10, 2011
Nathan Phillips Square, Toronto

Free Admission
Friday 10:30am-7:30pm
Saturday 10:30am-7:30pm
Sunday 10:30am-6:30pm


Art Talk

On Saturday, July 9, I will be part of a panel discussion with artists Tara Cooper and Amy Switzer. The talk is titled The Art, The Artist and The Accolades and is moderated by Jenna Oldham.

Saturday, July 9th
1:00 – 2:00 PM
(45 minute discussion, followed by 15 min Q&A)
Toronto City Hall, in the Rotunda
Free Admission

Click here for full TOAE 2011 programming schedule.

Canada Council Art Bank

Mark Stebbins, Heap, 2010, 16 x 20", collection of Canada Council Art Bank

My 2010 piece Heap has been purchased by the Canada Council Art Bank as part of its 2011 purchases of work by 52 Canadian artists. The Canada Council Art Bank, with approximately 17,500 works, has the largest collection of contemporary Canadian art in the world.

Click here for the full Art Bank news release, or read more below.

Continue reading