Celebrating Shary Boyle, from the small to the monumental

Visual artist Shary Boyle is in the spotlight these days in Montreal. In addition to having a solo exhibition at the Patel Brown gallery, his work is nothing less than monumental, Scentimeis now located at the head office of the National Bank, rue Saint-Jacques.

Vesseling is the artist’s first exhibition at Patel Brown in Montreal. For its director, Roxanne Arsenault, this is a great privilege: “ [Patel Brown] is a gallery that is based in Toronto and Shary [Boyle] comes from Toronto. I could have thought that [la première exposition] would have been in Toronto, but ultimately, it takes place in Montreal. It’s extraordinary and very exciting for me. »

The presentation brings together, among other things, four series produced since the artist’s major project, In front of Moi’s palace [Outside the Palace of Me]. “We were interested in presenting these bodies of work together. Shary [Boyle] was open to that, because even if they are very different, there are ideas that enter into dialogue and there are quite interesting formal relationships,” explains Roxanne Arsenault.

The artist, who represented Canada at the 55^e Venice Biennale, remains true to itself in these new productions, while knowing how to renew itself and explore new languages.

Inspired by play, ritual and metamorphosis, the works of Vesselling propel the audience into fanciful worlds, into imaginary places that are both intriguing and disturbing. It is a question of questioning, through propositions, the hybrid identity and the fluidity of the self. In the series Grafter, the paintings full of strange characters are enhanced with ceramic masks, creating a theatrical effect. Among the productions, some are more sober, like The Florist (2022) which notably recalls a trip to Lithuania by the artist. Others are more eccentric, including Cabaret (2022) which evokes performance, acrobatics, the circus, staging.

Secondly, “dysfunctional” anthropomorphic porcelain containers enter into dialogue with these first works. The container drinks itself in Sistern (2022) as well as, in a more subtle way, in Atrium & Ventricle (2022). “It’s a whole reflection on water which is a precious natural resource, on the body as content. There are a lot of emotional and conceptual charges in these works,” says Roxanne Arsenault.

For the artist, these environmental concerns remain well anchored in his most recent works. Flood (2024) refers to the small village in New Brunswick surrounded by nature where the artist resides. Above all, in the words of Director Patel Brown, “Sackville is a swamp that will be prone to flooding.” The work then leads visitors to develop thoughts on the subject.

Wishing Well (2022) is undoubtedly one of the most surprising sculptures: the relatively sober container opens. We then discover nothing less than a Swarovski crystal, appearing at the end of a beaded chain. “You should never underestimate what’s inside,” reminds Roxanne Arsenault.

Outside the walls

By its similarities from the point of view of form, Wishing Well seems to echo Scentime, the monumental sculpture by the artist recently acquired by the National Bank following the last competition. Located in the atrium of Place Banque Nationale, Scentime is one of six works on display at the new headquarters venue alongside artists Myfanwy MacLeod (The song of the Dodo), Beth Stuart (The Tendernesses), Fabienne Lasserre (Color noises), Jen Aitken (Almost saw) and Rochelle Goldberg (Monkey, Monroe). Shary Boyle’s piece is undoubtedly one of the most imposing, measuring almost 7 meters high. And paradoxically, it is inspired by decorative miniature containers used in the 18th century.^e century for fragrances.

If the gold cast metal head at the end of Scentime seems to be able to open and reveal content, as is the case for Wishing Well, however, you must not get caught. Constraints linked to the proportions of the work Scentime rather lead us to imagine that there could be content, as Roxanne Arsenault suggests.

It is thus, in a very poetic way, about rethinking the function and symbolism of containers, used by many cultures to preserve food and water, among other things.

While the Shary Boyle exhibition ends this week at the Patel Brown gallery and you have to go there imminently to experience it, visitors will be able to take their time to admire the colossal project of the National Bank over the coming months, and more specifically, Scentimesince it is an ongoing project.

The exhibition at the Patel Brown gallery ends on April 20.

Visit the exhibition page at the Patel Brown gallery