Zona Maco, Mexico City (2019)

Gord Bond, He's A Snake With a Wolf's Head (2019), Mixed Media on Paper, 28x22cm
Gord Bond, No One At The Party Could Swim (2019), Mixed Media on Paper, 46x61cm
Kathryn MacNaughton, Pivot (2019), Acrylic on Canvas, 183x152cm
Kathryn MacNaughton, ‘Swerve’ (2019), Acrylic on Canvas, 182x152cm
Peter Matthews, Hubiku (2019), Oil, Acrylic and Mixed Media on Canvas, 61x57”(Framed)
Peter Matthews, Ek-Balam (2019), Oil, Acrylic and Mixed Media on Canvas, 61x57”(Framed)
Andrew Salgado, Contemporary Pleasure Island Time Wasters (2019), Oil and Oil Pastel on Canvas, 210x165cm (framed)
Andrew Salgado, The Astrology Lesson (2019), Oil and Oil Pastel on Canvas, 210x165cm (framed)

Zona Maco, Mexico City 
6-9 February 2019 
Group Presentation 
Booth H-213

Gord Bond | Kathryn MacNaughton | Peter Matthews | Andrew Salgado

We are thrilled to be returning to Zona Maco 2019 for the third year for the sixteenth edition of the fair. This year, we will be exhibiting a group of 4 talented artists; Gord Bond, Kathryn MacNaughton, Peter Matthews and Andrew Salgado who will show together for the first time in a very exciting, progressive and contemporary context. 

For more on the exhibition please visit the follow link HERE

Gord BOND (click here)
Gord Bond’s work stems from a fascination with the human bodily form – particularly the face. Influenced by the likes of Philip Guston, whose cartoonish representations of lugubrious, idiosyncratic characters and body parts were created as a direct response against the work of abstract expressionists such as Jackson Pollock working at the time. Like Guston’s figures, Bond’s characters are somewhat reductive yet highly expressive and, despite bright orange noses, purple cheeks, blue eyebrows and red lips, manage not to look clownish or overly comical. Instead, they are depicted in loose narratives with a delicate sense of play. An artist focussed on the materiality of paint, Bond allows mistakes and bad decisions to become part of the fabric of his work; vestiges of past forms sit like bruises below the surface, pushing to break through.

GORD BOND (b. 1989, Hamilton, Ontario, Canada) lives and works in Hamilton, Ontario, Canada. Originally studying Science at McMaster University, he switched majors and subsequently graduated with a Bachelor of Arts Degree in 2012, then with a Masters of Fine Arts from York University in 2014. Solo exhibitions include: 'Almost Human Nature', Carnegia Gallery, Dundas, Canada (2017); 'What Are We Waiting For?', Oswald Gallery, Hamilton, Canada (2016); 'Kin or Close Enough', McMaster’s Fitzhenry Atrium, Hamilton, Canada (2016); and 'Trying Not to Die', AWOL Gallery, Toronto, Canada (2014). Group exhibitions include: 'The Crowd', Maiden LA Public Installation, Los Angeles, USA (2017); 'One Horse Town', Prop Haus, Hamilton, Canada (2017); 'Hot Properties', Casino Artspace, Hamilton, Canada (2017); and 'Worked Over', Oswald Gallery, Hamilton, Canada (2017).

Kathryn MACNAUGHTON (click here)

Canadian artist Kathryn MacNaughton deftly interweaves figurative painting with a combination of abstract expressionism, geometric abstraction, and even conventions of the painted still-life into one poetic statement. Here, these forms of figuration and still life have been flattened, like their more abstract counterparts, to face the frontal plane of the canvas. In this sense, the canvas - and the analog process of the painter's hand - references the computer screen and the digital touch, where these pieces originally begin to take their shape. She states: I wanted my digital work to look raw and handmade. Now that I create “physical” paintings, I want to give the illusion that the work is digital. MacNaughton, who trained and worked as a graphic designer, uses this sort of 'digital compression' to her advantage, and one begins to use typically post-analog language when discussing her work: masking, layering, colour-blocking, silhouette. Here these concepts are paired with more Romantic expressive movements: a scribble dances across a bust, outlined in silhouette, which guides the viewer's eye around the flattened curves as one guides the finger across a map. The work simultaneously houses a sensuality one aligns with gender tropes: as suggestions of feminine curves play shadow-tricks, appearing as vessels or curtains that guide the eye, but also obscure and reveal the picture plane while painterly splatters and curves leap behind and before the picture plane. But also the masculine, referencing brutalist and Modernist architecture: the austerity and monolithic qualities of shape, form, and line, or perhaps even the sharp angles of cacti in the desert. We see references from Robert Morris to Georgia O'Keefe; Diebenkorn to DiChirico, and even a cheeky reference to the highly stylized drawings of Patrick Nagel (more colloquially known as the artist who made Playboy 'drawings' iconic of the entire 1980s). The work therefore works in polarities: analog and post-analog mark-making (ie: the painterly and the digital); feminine and masculine; pragmatism and Romanticism; expressiveness and obfuscation; light and dark. There is a sense of theatricality to her revelations, and it is, in every sense, a cheeky play of light and dark versus form and technique, like boxing with one's own shadow - an art of individual, delicate mastery.

KATHRYN MACNAUGHTON (b. 1985, Toronto, Canada) lives and works in Toronto, Canada. She graduated from Ontario College of Art and Design in 2007. Solo exhibitions include: ‘Fixed State’, Bau Xi Gallery, Toronto (2018); 'Intervals' BEERS London, London (2018), ‘Sprang’, Bau Xi Gallery, Toronto (2016); and ‘Blue Note’, Huntclub Gallery, Toronto (2015). Group exhibitions include: ‘Dualities: A Bridge Between Two Worlds’, Bau Xi Gallery, Toronto (2017); ‘SMASH’, Gardiner Museum, Toronto (2016); and ‘The One That Got Away’, Artscape Youngplace, Toronto (2015). Macnaughton’s work has been featured in publications such as Elle Magazine, District-W Magazine, and The Coveteur.

Peter MATTHEWS (click here)

Through the simplicity of the works, Matthew's comments as much on performance and 'the conceptual' as he does the two-dimensional picture plane. For these are drawings that are not really about drawing at all, but rather about man's inability to recapture the momentary sublime held in the vastness of nature, the bleak romanticism in the ocean as it consumes and intoxicates. Through extended hours (sometimes Matthews will abscond himself for up to 9 hours, adrift alone at sea,) Matthews is working in real time through a very direct approach and immediate relationship with the ocean, where it becomes evident that his process is so much less about draftsmanship or material and more about an idea connected to nature and personal spirituality: through the drawings, Matthews seeks to question and challenge the nature of the image as something that requires subject matter. He questions us, as to whether the drawing can capture an essence, a thought, a momentary fleeting feeling. For Matthews, there is an immediacy and connectivity in his practice that articulates something that even a painting cannot - for a painting is about production, and these drawings are not about the artist's studio or statement: they are about a place and moment in time. Most recently, he has begun pairing his works with videos which offer perhaps the most straightforward documentation of a practice defined by its very indefiniteness, its incalculability, and the presence of video may be more apt to contextualize something that drawing, even after hours and hours drifting in the ocean, may not be able to fully explain for his viewer.

PETER MATTHEWS lives and works in Leicester, England. He graduated with a BA(Hons) and MFA from Nottingham Trent University. Solo exhibitions include: 'The End is Where They Start From', Pasaje Montoya, Barcelona, Spain (2018); ‘Continuum’, James Cohan Gallery, New York (2011); and ‘Sea Marks’, Mendes Wood DM, Sao Paulo (2011). Group exhibitions include: ‘After Image: Contemporary Artists and Photography’, Art House Productions Gallery, New Jersey (2015); ‘Power of the Sea’, Royal West of England Academy, Bristol (2014); and ‘Appendage, Konnektor’, Forum fur Kunste, Hannover (2014). Matthews completed an artist resident at the Scripps Institute of Oceanography California in 2015, and was a finalist in the Francois Schneider Contemporary Talents competition in 2014. He was also shortlisted on the Sky Arts programme ‘Landcape Artist of the Year’. In 2017 he was awarded the Hugh Casson Drawing Prize at Royal Academy of Arts, London. Matthews’ solo showings with BEERS London include ‘In Search of the Sublime’, London (2016); and ‘Artissima Art Fair’, Torino (2016). Group showings with BEERS London include ’75 Works on Paper’, London (2017). He has a further upcoming show with BEERS in early 2019.

Andrew SALGADO (click here) 

The large scale, gestural paintings of Andrew Salgado explore concepts relating to the destruction and reconstruction of identity – a process that he views as re-considering the conventions of figurative painting through a pursuit toward abstraction. Salgado questions the nature of identity and even the act of painting itself as something monstrous, allegorical, or symbolic. Incorporating Classical archetypes alongside a wildly inventive approach to his chosen media, Salgado’s work defies categorization. Recent works include collage, mixed-media, and even hand-dyed and hand-stitched linen and canvas. ”I am interested in how my paintings operate independently from their literal figurative foundation, and how they might deconstruct through colour choices, reduction of forms, and triumph of materiality to become something altogether otherworldly.

ANDREW SALGADO (b. 1982, Regina, Canada) lives and works in London, England. He graduated with an MA in Fine Art from Chelsea College of Art and Design in 2009, and a BFA from University of BC, Vancouver, in 2005. Forthcoming solo exhibitions include: ‘How to Build a Boat’, Angell Gallery, Toronto (October 2018). Selected previous solo exhibitions include: 'Dirty Linen & The Nihilist's Alphabet, Christopher Moller Gallery, Cape Town (2018), ‘A Room with a View of the Ocean’, Lauba Art House, Zagreb (2017); ‘TEN’, Gallery of the Canadian High Commission, London (2017); and ‘The Fool Makes a Joke at Midnight’, Thierry Goldberg, New York (2016). Salgado was the subject of the 2015 documentary ‘Storytelling’, and was featured in the 2014 publication ‘100 Painters of Tomorrow’ (Thames & Hudson). He has been featured widely in the press, including GQ, The Evening Standard, The Independent, Artsy, and Metro. Salgado’s solo showings with BEERS London include ‘Storytelling’, London (2014); ‘The Snake’, London (2016), and 'Nature Boy', London, (2018). He curated the group show ‘The Fantasy of Representation’ at BEERS London in 2015, and was part of the group exhibitions ’75 Works on Paper’ (2017); ‘O Canada!’ (2017); and ’35 Works on Paper’ (2016). Salgado's most recent solo exhibition, entitled, 'Blue Rainbow' opened at Angell Gallery in Toronto (Canada) on 4 October.