Andy Patton
Virtual Collection: Original CCCA
Country of Birth: Canada
Province of Birth: Manitoba
Year of Birth: 1952
City: Toronto
Country: Canada
Type of Creator: Artist, Writer
Gender: Male
Mediums: critique, installation, painting, text-based
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Work by Andy Patton
The Architecture of Privacy
Work ID: 53835
Measurements: 152.4 x 243.84 cm/po
Collection:
Date Made: 1983
Materials: oil/canvas
Virtual Collection: Original CCCA
With One Hand Tied Against the Other
Work ID: 53836
Measurements: 152.4 x 152.4 cm/po
Collection:
Date Made: 1984
Materials: oil/canvas
Virtual Collection: Original CCCA
Voices
Work ID: 53837
Measurements: 152.4 x 304.8 cm/po
Collection:
Date Made: 1985
Materials: oil/canvas
Virtual Collection: Original CCCA
Late Chrysanthemums
Work ID: 53839
Measurements: 167.64 x 152.4 cm/po
Collection:
Date Made: 1986
Materials: oil, etching, ink, canvas
Virtual Collection: Original CCCA
The Flavour of Green Tea With Rice
Work ID: 53838
Measurements: 182.88 x 292.1 cm/po
Collection:
Date Made: 1986
Materials: oil/canvas
Virtual Collection: Original CCCA
The flower on the cliff’s edge?
Work ID: 53840
Measurements: 198.12 x 274.32 cm/po
Collection:
Date Made: 1990
Materials: oil/canvas
Virtual Collection: Original CCCA
Red Glow of Sunset
Work ID: 53841
Measurements: 198.12 x 182.88 cm/po
Collection:
Date Made: 1990
Materials: acrylic, varnish, canvas
Virtual Collection: Original CCCA
Day After Day, [detail]
Work ID: 51125
Description: Day After Day was done in the Winnipeg Art Gallery, in a gallery that is a projection to the east out of the triangular footprint of the WAG. At that time, I was interested in the relationship of light and architecture, so I had a window that had been hidden by a wall for many years opened up again. Now natural light entered the gallery, and you could see the street outside once more. The wall painting was made to be exactly the height of that window. It took place only in the area of the gallery which projected outside the triangular WAG footprint, running across a short wall (which was beside the window as you entered), along the wall which formed the long side of the gallery, then passed through the end wall of the gallery and reappeared behind it in an emergency exit corridor. The painting passed from dark to light to dark again several times: what we call 'a day' is simply the passage from dark to light to dark.
Measurements: 0.3132 x 0.3132 m/pi
Collection:
Date Made: 1992
Materials: acrylic on wall
Virtual Collection: Original CCCA
Halton Ceramics Works
Work ID: 51128
Description: This wall painting was done in an abandoned former brick and ceramics factory which once existed in Burlington, Ontario. The wall painting was done on a concrete wall that filled in an opening that once had been a large set of doors. The painting simply varied from dark at the top to light at the bottom, like the sky at sunset, by means of a series of coats of very dilute acrylic paint, 4 or 5 coats where it is the lightest, and 40 or 50 wehre it is the darkest.
Measurements: 0.2784 x 0.4176 m/pi
Collection:
Date Made: 1992
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Day After Day, [view toward window]
Work ID: 51124
Description: Day After Day was done in the Winnipeg Art Gallery, in a gallery that is a projection to the east out of the triangular footprint of the WAG. At that time, I was interested in the relationship of light and architecture, so I had a window that had been hidden by a wall for many years opened up again. Now natural light entered the gallery, and you could see the street outside once more. The wall painting was made to be exactly the height of that window. It took place only in the area of the gallery which projected outside the triangular WAG footprint, running across a short wall (which was beside the window as you entered), along the wall which formed the long side of the gallery, then passed through the end wall of the gallery and reappeared behind it in an emergency exit corridor. The painting passed from dark to light to dark again several times: what we call 'a day' is simply the passage from dark to light to dark.
Measurements: 0.3132 x 2.2968 m/pi
Collection:
Date Made: 1992
Materials: acrylic on wall
Virtual Collection: Original CCCA
Day After Day, [view entering gallery]
Work ID: 51123
Description: Day After Day was done in the Winnipeg Art Gallery, in a gallery that is a projection to the east out of the triangular footprint of the WAG. At that time, I was interested in the relationship of light and architecture, so I had a window that had been hidden by a wall for many years opened up again. Now natural light entered the gallery, and you could see the street outside once more. The wall painting was made to be exactly the height of that window. It took place only in the area of the gallery which projected outside the triangular WAG footprint, running across a short wall (which was beside the window as you entered), along the wall which formed the long side of the gallery, then passed through the end wall of the gallery and reappeared behind it in an emergency exit corridor. The painting passed from dark to light to dark again several times: what we call 'a day' is simply the passage from dark to light to dark.
Measurements: 0.3132 x 0.3132 m/pi
Collection:
Date Made: 1992
Materials: acrylic on wall
Virtual Collection: Original CCCA
Grand Valley Silo
Work ID: 50521
Description: Location: Grand Valley, Ontario.
I wanted to work in a curving architecture, so that I could make a painting that completely surrounded the viewer, a bath of colour into which you'd be immersed. Since the silo curved around the viewer on a horizontal axis, I tried to make a painting that would seem to curve the opposite way, vertically, so that as it darkened at your feet and above your head it would bend away from you. The silo wall painting, then, had two curves. One was the actual curve of the concrete walls, the second, the curve of the wall painting bending back and away at the top and bottom. The painting was lightest at about the 6 foot level, about head height. Like most of the blue wall paintings, it was done by hand with a brush, using many coats of very dilute acrylic: 4 or 5 coats where it is lightest, and something like 60 or 70 where it was darkest. The concrete silo was 24 feet tall with a diameter of 12 feet. The wall painting's height, which I arrived at intuitively, turned out to be exactly that of the diameter.
Measurements: silo: 24 ft tall x 12 ft diameter
Collection:
Date Made: 1993
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Grand Valley Silo, [detail]
Work ID: 51129
Description: Location: Grand Valley, Ontario
I wanted to work in a curving architecture, so that I could make a painting that completely surrounded the viewer, a bath of colour into which you'd be immersed. Since the silo curved around the viewer on a horizontal axis, I tried to make a painting that would seem to curve the opposite way, vertically, so that as it darkened at your feet and above your head it would bend away from you. The silo wall painting, then, had two curves. One was the actual curve of the concrete walls, the second, the curve of the wall painting bending back and away at the top and bottom. The painting was lightest at about the 6 foot level, about head height. Like most of the blue wall paintings, it was done by hand with a brush, using many coats of very dilute acrylic: 4 or 5 coats where it is lightest, and something like 60 or 70 where it was darkest. The concrete silo was 24 feet tall with a diameter of 12 feet. The wall painting's height, which I arrived at intuitively, turned out to be exactly that of the diameter.
Collection:
Date Made: 1993
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Grand Valley Silo, [detail]
Work ID: 51130
Description: Location: Grand Valley, Ontario
I wanted to work in a curving architecture, so that I could make a painting that completely surrounded the viewer, a bath of colour into which you'd be immersed. Since the silo curved around the viewer on a horizontal axis, I tried to make a painting that would seem to curve the opposite way, vertically, so that as it darkened at your feet and above your head it would bend away from you. The silo wall painting, then, had two curves. One was the actual curve of the concrete walls, the second, the curve of the wall painting bending back and away at the top and bottom. The painting was lightest at about the 6 foot level, about head height. Like most of the blue wall paintings, it was done by hand with a brush, using many coats of very dilute acrylic: 4 or 5 coats where it is lightest, and something like 60 or 70 where it was darkest. The concrete silo was 24 feet tall with a diameter of 12 feet. The wall painting's height, which I arrived at intuitively, turned out to be exactly that of the diameter.
Collection:
Date Made: 1993
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Grand Valley Silo
Work ID: 50522
Description: Location: Grand Valley, Ontario.
I wanted to work in a curving architecture, so that I could make a painting that completely surrounded the viewer, a bath of colour into which you'd be immersed. Since the silo curved around the viewer on a horizontal axis, I tried to make a painting that would seem to curve the opposite way, vertically, so that as it darkened at your feet and above your head it would bend away from you. The silo wall painting, then, had two curves. One was the actual curve of the concrete walls, the second, the curve of the wall painting bending back and away at the top and bottom. The painting was lightest at about the 6 foot level, about head height. Like most of the blue wall paintings, it was done by hand with a brush, using many coats of very dilute acrylic: 4 or 5 coats where it is lightest, and something like 60 or 70 where it was darkest. The concrete silo was 24 feet tall with a diameter of 12 feet. The wall painting's height, which I arrived at intuitively, turned out to be exactly that of the diameter.
Measurements: silo: 24 ft tall x 12 ft diameter
Collection:
Date Made: 1993
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Georgetown Curve
Work ID: 50525
Description: Location: Georgetown, Ontario [Destroyed].
This wall painting was an attempt to make a flat wall appear to curve. It
actually "bent" in two opposite ways. The centre of the wall is the darkest
and most saturated area. If seen as darkest, that part of the wall curved
away from you. If it was experienced as saturated, it seemed to bulge out at you.
The painting was done in artist's quality acrylic paint, applied in many
very dilute coats - 4 or 5 where the painting was lightest; 50 or more where it was darkest.
Measurements: 0.2436 x 2.088 m/pi
Collection:
Date Made: 1994
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Georgetown Curve
Work ID: 50524
Description: Location: Georgetown, Ontario [Destroyed].
This wall painting was an attempt to make a flat wall appear to curve. It
actually "bent" in two opposite ways. The centre of the wall is the darkest
and most saturated area. If seen as darkest, that part of the wall curved
away from you. If it was experienced as saturated, it seemed to bulge out at you.
The painting was done in artist's quality acrylic paint, applied in many
very dilute coats - -4 or 5 where the painting was lightest; 50 or more where it was darkest.
Measurements: 7 x 60 ft/pi
Collection:
Date Made: 1994
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Georgetown Curve
Work ID: 50523
Description: Location: Georgetown, Ontario [Destroyed].
This wall painting was an attempt to make a flat wall appear to curve. It
actually "bent" in two opposite ways. The centre of the wall is the darkest
and most saturated area. If seen as darkest, that part of the wall curved
away from you. If it was experienced as saturated, it seemed to bulge out at you.
The painting was done in artist's quality acrylic paint, applied in many
very dilute coats - 4 or 5 where the painting was lightest; 50 or more where it was darkest.
Measurements: 0.2436 x 2.088 m/pi
Collection:
Date Made: 1994
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Two Curves
Work ID: 50520
Description: Two Curves was done at the Linda Genereux Gallery in Toronto, and is related to both the Georgetown Curve piece and Barragan. Two facing walls of the gallery were painted so that they interacted. Each was painted to be the inverse of the other: one dark where the other was light and vice-versa. Where one wall appeared to curve out into the gallery in the centre, the other appeared to curve inwards. That description is oversimplified, as in fact, one wall painting (the west wall, on which the gallery door was situated) was displaced a few feet to the south relative the east wall. Also, the wall painting on that wall appeared to run behind a support column whereas the opposite wall painting was unimpeded. The height of the wall painting was exactly the height of the aluminum frame for the entrance door to the gallery. The length of the wall painting was the length of the unbroken east wall, which faced you as you entered the gallery.
Measurements: each painted wall: 9 x 65 feet
Collection:
Date Made: 1995
Materials: acrylic on wall
Virtual Collection: Original CCCA
Two Curves
Work ID: 50518
Description: Two Curves was done at the Linda Genereux Gallery in Toronto, and is related to both the Georgetown Curve piece and Barragan. Two facing walls of the gallery were painted so that they interacted. Each was painted to be the inverse of the other: one dark where the other was light and vice-versa. Where one wall appeared to curve out into the gallery in the centre, the other appeared to curve inwards. That description is oversimplified, as in fact, one wall painting (the west wall, on which the gallery door was situated) was displaced a few feet to the south relative the east wall. Also, the wall painting on that wall appeared to run behind a support column whereas the opposite wall painting was unimpeded. The height of the wall painting was exactly the height of the aluminum frame for the entrance door to the gallery. The length of the wall painting was the length of the unbroken east wall, which faced you as you entered the gallery.
Measurements: each painted wall: 9 x 65 feet
Collection:
Date Made: 1995
Materials: acrylic on wall
Virtual Collection: Original CCCA
Two Curves
Work ID: 50519
Description: Two Curves was done at the Linda Genereux Gallery in Toronto, and is related to both the Georgetown Curve piece and Barragan. Two facing walls of the gallery were painted so that they interacted. Each was painted to be the inverse of the other: one dark where the other was light and vice-versa. Where one wall appeared to curve out into the gallery in the centre, the other appeared to curve inwards. That description is oversimplified, as in fact, one wall painting (the west wall, on which the gallery door was situated) was displaced a few feet to the south relative the east wall. Also, the wall painting on that wall appeared to run behind a support column whereas the opposite wall painting was unimpeded. The height of the wall painting was exactly the height of the aluminum frame for the entrance door to the gallery. The length of the wall painting was the length of the unbroken east wall, which faced you as you entered the gallery.
Measurements: each painted wall: 9 x 65 feet
Collection:
Date Made: 1995
Materials: acrylic on wall
Virtual Collection: Original CCCA
Barragan
Work ID: 50530
Description: Location: London, Ontario [Destroyed].
A homage to the Mexican architect Luis Barragan, this wall painting tilted
the space between the two parallel walls of a loading dock, as though each wall were leaning. The entire painting could only be seen from either end. Any frontal view meant that one half of the work lay behind you, out of sight.
Measurements: each painted area/chaque: 5 x 30 ft/pi
Collection:
Date Made: 1996
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Barragan
Work ID: 50528
Description: Location: London, Ontario [Destroyed].
A homage to the Mexican architect Luis Barragan, this wall painting tilted
the space between the two parallel walls of a loading dock, as though each wall were leaning. The entire painting could only be seen from either end. Any frontal view meant that one half of the work lay behind you, out of sight.
Measurements: each painted area/chaque: 5 x 30 ft/pi
Collection:
Date Made: 1996
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Barragan
Work ID: 50526
Description: Location: London, Ontario [Destroyed].
A homage to the Mexican architect Luis Barragan, this wall painting tilted
the space between the two parallel walls of a loading dock, as though each wall were leaning. The entire painting could only be seen from either end. Any frontal view meant that one half of the work lay behind you, out of sight.
Measurements: each painted area/chaque zone : 5 x 30 ft/pi
Collection:
Date Made: 1996
Materials: acrylic on concrete
Virtual Collection: Original CCCA
The Civil Ordering of Night
Work ID: 51126
Description: This enormous wall painting was done in the ArtLab at the Visual Arts Building at the University of Western Ontario. The ArtLab is quite a large space, a square gallery in a circular pavilion. The wall painting was made to be exactly as tall (14 ft) as the exit doors through which materials and works can be driven into the gallery. It ran completely around the gallery darkening towards one corner of the space, and lighting towards the corner exactly opposite. Each wall of the gallery is divided in half by a door or opening. I divided each of the half walls on the side of that door or opening vertically in half by means of a taped line. A taped line also divided the entire painting in half horizontally, and a 'frame' was taped off horizontally at the top and bottom of the wall painting, and vertically at each corner of the room, and at each door or aperture in the wall. In this way, the whole work contained its own frame, and presented each wall as though it were a discrete element. The taped frame and internal divisions were the same light blue everywhere. As the painting darkened towards the darkest painted corner, the taped lines became much more apparent. As the painting lightened, they became almost invisible. So the imaginary plane on which those lines seemed to exist at some points merged into the wall painting, and at other points diverged from it.
Measurements: each wall: 0.4872 x 3.3408 m
Collection:
Date Made: 1996
Materials: paint on wall
Virtual Collection: Original CCCA
Barragan
Work ID: 50529
Description: Location: London, Ontario [Destroyed].
A homage to the Mexican architect Luis Barragan, this wall painting tilted
the space between the two parallel walls of a loading dock, as though each wall were leaning. The entire painting could only be seen from either end. Any frontal view meant that one half of the work lay behind you, out of sight.
Measurements: each painted area/chaque: 5 x 30 ft/pi
Collection:
Date Made: 1996
Materials: acrylic on concrete
Virtual Collection: Original CCCA
Barragan
Work ID: 50527
Description: Location: London, Ontario [Destroyed].
A homage to the Mexican architect Luis Barragan, this wall painting tilted
the space between the two parallel walls of a loading dock, as though each wall were leaning. The entire painting could only be seen from either end. Any frontal view meant that one half of the work lay behind you, out of sight.
Measurements: each painted area/chacune des zones peintes: 5 x 30 ft/pi
Collection:
Date Made: 1996
Materials: acrylic on concrete
Virtual Collection: Original CCCA
The Civil Ordering of Night
Work ID: 51127
Description: This enormous wall painting was done in the ArtLab at the Visual Arts Building at the University of Western Ontario. The ArtLab is quite a large space, a square gallery in a circular pavilion. The wall painting was made to be exactly as tall (14 ft) as the exit doors through which materials and works can be driven into the gallery. It ran completely around the gallery darkening towards one corner of the space, and lighting towards the corner exactly opposite. Each wall of the gallery is divided in half by a door or opening. I divided each of the half walls on the side of that door or opening vertically in half by means of a taped line. A taped line also divided the entire painting in half horizontally, and a 'frame' was taped off horizontally at the top and bottom of the wall painting, and vertically at each corner of the room, and at each door or aperture in the wall. In this way, the whole work contained its own frame, and presented each wall as though it were a discrete element. The taped frame and internal divisions were the same light blue everywhere. As the painting darkened towards the darkest painted corner, the taped lines became much more apparent. As the painting lightened, they became almost invisible. So the imaginary plane on which those lines seemed to exist at some points merged into the wall painting, and at other points diverged from it.
Measurements: each wall: 0.4872 x 3.3408 m
Collection:
Date Made: 1996
Materials: paint on wall
Virtual Collection: Original CCCA
Chinguacousy Road Silo
Work ID: 51121
Description: After doing the Grand Valley Silo, I realized that if a painting done on the inside of a curve would surround the viewer, a painting done on the outside of a curve would also be running away from the viewer. Because of the effects of the curve, only a tiny portion of the painting would be visible from any point. In the case of the Grand Valley Silo or The Civil Ordering of Night, the work surrounded the viewer, but a viewer could simply stand in one place and turn in order to see the whole work. In this case, you had to walk entirely around the silo to be able to see the work. The painting's height was established by a ridge left by the wooden forms used to pour the concrete in making the silo. Like The Civil Ordering of Night, taped off vertical and horizontal bands 'frame' the work, and also subdivide it. The band that divides the painting halfway up is also one of the ridges left by the wooden forms. So are the vertical bands, which are not regularly places subdivisions of the painting. They occur each time a vertical ridge is encountered.
One of the odd things about the painting is that if you saw the painting from a distance, the painting seemed displaced relative to the rest of the silo, as though it had been pushed a few feet to the south, which is where the painting was darkest and most saturated.
Measurements: 0.2784 x 2.175 m/pi
Collection:
Date Made: 1997
Materials:
Virtual Collection: Original CCCA
Chinguacousy Road Silo, [detail]
Work ID: 51122
Description: After doing the Grand Valley Silo, I realized that if a painting done on the inside of a curve would surround the viewer, a painting done on the outside of a curve would also be running away from the viewer. Because of the effects of the curve, only a tiny portion of the painting would be visible from any point. In the case of the Grand Valley Silo or The Civil Ordering of Night, the work surrounded the viewer, but a viewer could simply stand in one place and turn in order to see the whole work. In this case, you had to walk entirely around the silo to be able to see the work. The painting's height was established by a ridge left by the wooden forms used to pour the concrete in making the silo. Like The Civil Ordering of Night, taped off vertical and horizontal bands 'frame' the work, and also subdivide it. The band that divides the painting halfway up is also one of the ridges left by the wooden forms. So are the vertical bands, which are not regularly places subdivisions of the painting. They occur each time a vertical ridge is encountered.
One of the odd things about the painting is that if you saw the painting from a distance, the painting seemed displaced relative to the rest of the silo, as though it had been pushed a few feet to the south, which is where the painting was darkest and most saturated.
Measurements: 0.2784 x 2.175 m
Collection:
Date Made: 1997
Materials:
Virtual Collection: Original CCCA
Door to the Window, south wall
Work ID: 50536
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window
Work ID: 50532
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, north wall
Work ID: 50538
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, north wall
Work ID: 50539
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window
Work ID: 50531
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, east wall
Work ID: 50533
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, east wall, [detail]
Work ID: 50534
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, east wall, [detail]
Work ID: 50535
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Door to the Window, south wall, [detail]
Work ID: 50537
Description: Location: Goodwater, Ontario
Collection:
Date Made: 2002
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, first floor
Work ID: 50541
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, first floor
Work ID: 50540
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, second floor
Work ID: 50544
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, first floor
Work ID: 50542
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, first floor
Work ID: 50543
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, second floor
Work ID: 50546
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House, second floor
Work ID: 50545
Description: Chemist's House is a wall painting in a now-empty house by the Water Filtration Plant at Gibraltar Point on Toronto Islands. The house is where the doctor lived who did the first chemical tests for Toronto's water purity.
The wall painting takes place in the ground floor and second floor rooms of the northwest corner of the house. It defines the walls of a virtual room which begins part way up the ground floor and ends below the ceiling of the second floor, forming an imaginary space between the two real stories. The room made by the painting is larger than either actual room, since it is as long as the longest of the two rooms, and as wide as the widest room. Painted areas therefore project outside each of the actual rooms, and extend into neighbouring rooms and closets. The wall painting consists of black panels with green borders. Thinner green lines cut through the black panels, carrying information about the architecture of the room below you, or above you.
Collection:
Date Made: 2003
Materials: acrylic on wall
Virtual Collection: Original CCCA
Chemist’s House
Work ID: 53842
Collection:
Date Made: 2003-04
Materials:
Virtual Collection: Original CCCA
Chemist’s House, [1st floor]
Work ID: 53843
Collection:
Date Made: 2003-04
Materials:
Virtual Collection: Original CCCA
Chemist’s House, [2nd floor]
Work ID: 53845
Collection:
Date Made: 2003-04
Materials:
Virtual Collection: Original CCCA
Chemist’s House, [2nd floor]
Work ID: 53844
Collection:
Date Made: 2003-04
Materials:
Virtual Collection: Original CCCA
