Two Curves

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.

Des mesures : 0.3132 x 0.3132 m/pi

Collection:

Date de réalisation : 1992

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Halton Ceramics Works

Artist: Andy Patton

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.

Des mesures : 0.2784 x 0.4176 m/pi

Collection:

Date de réalisation : 1992

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Day After Day, [view toward window]

Artist: Andy Patton

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.

Des mesures : 0.3132 x 2.2968 m/pi

Collection:

Date de réalisation : 1992

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Day After Day, [view entering gallery]

Artist: Andy Patton

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.

Des mesures : 0.3132 x 0.3132 m/pi

Collection:

Date de réalisation : 1992

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Grand Valley Silo

Artist: Andy Patton

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.

Des mesures : silo: 24 ft tall x 12 ft diameter

Collection:

Date de réalisation : 1993

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Grand Valley Silo, [detail]

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 1993

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Grand Valley Silo, [detail]

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 1993

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Grand Valley Silo

Artist: Andy Patton

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.

Des mesures : silo: 24 ft tall x 12 ft diameter

Collection:

Date de réalisation : 1993

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Georgetown Curve

Artist: Andy Patton

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.

Des mesures : 0.2436 x 2.088 m/pi

Collection:

Date de réalisation : 1994

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Georgetown Curve

Artist: Andy Patton

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.

Des mesures : 7 x 60 ft/pi

Collection:

Date de réalisation : 1994

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Georgetown Curve

Artist: Andy Patton

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.

Des mesures : 0.2436 x 2.088 m/pi

Collection:

Date de réalisation : 1994

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Artist: Andy Patton

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.

Des mesures : each painted wall: 9 x 65 feet

Collection:

Date de réalisation : 1995

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Two Curves

Artist: Andy Patton

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.

Des mesures : each painted wall: 9 x 65 feet

Collection:

Date de réalisation : 1995

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Two Curves

Artist: Andy Patton

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.

Des mesures : each painted wall: 9 x 65 feet

Collection:

Date de réalisation : 1995

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Barragan

Artist: Andy Patton

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.

Des mesures : each painted area/chaque: 5 x 30 ft/pi

Collection:

Date de réalisation : 1996

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Barragan

Artist: Andy Patton

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.

Des mesures : each painted area/chaque: 5 x 30 ft/pi

Collection:

Date de réalisation : 1996

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Barragan

Artist: Andy Patton

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.

Des mesures : each painted area/chaque zone : 5 x 30 ft/pi

Collection:

Date de réalisation : 1996

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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The Civil Ordering of Night

Artist: Andy Patton

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.

Des mesures : each wall: 0.4872 x 3.3408 m

Collection:

Date de réalisation : 1996

Matériaux : paint on wall

Collection virtuelle : Original CCCA

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Barragan

Artist: Andy Patton

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.

Des mesures : each painted area/chaque: 5 x 30 ft/pi

Collection:

Date de réalisation : 1996

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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Barragan

Artist: Andy Patton

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.

Des mesures : each painted area/chacune des zones peintes: 5 x 30 ft/pi

Collection:

Date de réalisation : 1996

Matériaux : acrylic on concrete

Collection virtuelle : Original CCCA

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The Civil Ordering of Night

Artist: Andy Patton

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.

Des mesures : each wall: 0.4872 x 3.3408 m

Collection:

Date de réalisation : 1996

Matériaux : paint on wall

Collection virtuelle : Original CCCA

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Chinguacousy Road Silo

Artist: Andy Patton

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.

Des mesures : 0.2784 x 2.175 m/pi

Collection:

Date de réalisation : 1997

Matériaux :

Collection virtuelle : Original CCCA

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Chinguacousy Road Silo, [detail]

Artist: Andy Patton

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.

Des mesures : 0.2784 x 2.175 m

Collection:

Date de réalisation : 1997

Matériaux :

Collection virtuelle : Original CCCA

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Door to the Window, south wall

Artist: Andy Patton

ID : 50536

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window

Artist: Andy Patton

ID : 50532

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, north wall

Artist: Andy Patton

ID : 50538

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, north wall

Artist: Andy Patton

ID : 50539

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window

Artist: Andy Patton

ID : 50531

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, east wall

Artist: Andy Patton

ID : 50533

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, east wall, [detail]

Artist: Andy Patton

ID : 50534

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, east wall, [detail]

Artist: Andy Patton

ID : 50535

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Door to the Window, south wall, [detail]

Artist: Andy Patton

ID : 50537

Description: Location: Goodwater, Ontario

Des mesures :

Collection:

Date de réalisation : 2002

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, first floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, first floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, second floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, first floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, first floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, second floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

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Chemist’s House, second floor

Artist: Andy Patton

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.

Des mesures :

Collection:

Date de réalisation : 2003

Matériaux : acrylic on wall

Collection virtuelle : Original CCCA

Ajouter à la liste