Esmé Hogeveen

  • picks May 13, 2019

    Anne Low

    Anne Low’s exhibition at Franz Kaka, a basement-level gallery, is sparse and winsome. At once obliging and testing the parameters of a subterranean space, her works—which include a maple-and-basswood chair with carved zoomorphic details (Chair for a woman, 2018); a handwoven rolled mattress (Dust bed, 2018); and a car tire shrouded in hand-dyed, handwoven pink silk (Tire bag, 2019)—feel half-forgotten, as if they were left behind in a storage unit.

    The title of Low’s show, “Bletting,” describes the process whereby fruit softens, ripens, and eventually rots, which aptly summarizes the atmosphere

  • picks March 18, 2019

    Kara Hamilton

    Kara Hamilton’s “Water in Two Colours” consists of three biomorphic sculptures, a delicate human-size crown, and a takeaway text by writer Raimundas Malašauskas, each of which explores what the artist calls “jewellery for architecture.” Hamilton draws on her training in both architecture and design to pose questions about value and its representation; her works are made of brass, aluminum, silver, gold, fool’s gold, diamonds, pearl, and concrete. The large-scale pieces are fleshly: Two brass elevator doors are reconfigured into forms reminiscent of cetacean tongues in states of repose (Purple