Writing Abstracts, Robert Kananaj Gallery, Toronto, (ca) 2014
Clean Salvage, Acadia Fine Art, Toronto (ca) 2012
Art Toronto int. Art Fair, Galeria Begona Malone, Toronto, (ca)
Clean Salvage, The Focus Gallery, Hamilton (ca)
New Works on Paper, The Focus Gallery, Hamilton (ca) 2010
Christmas At Poulsen, Gallery Poulsen, Copenhagen (den)
Art Toronto int. Art Fair, Galeria Begona Malone, Toronto (ca) 2009
50/50, Hunter and Cook, Toronto (ca)
Poulsen on Paper, Gallery Poulsen, Copenhagen (den)
Art Toronto int. Art fair, Galeria Begona Malone, Toronto (ca) 2008
Scope New York, Galeria Begona Malone, NY (us) 2007
TBA, Galeria Begona Malone, Madrid (esp)
Scope Miami, Galeria Begona Malone, Miami (us)
Outside the Ordinary, Pierre-Francois Ouellette Art Contemporain, Montreal (ca)
Locus Horribilis, Pierre-Francois Ouellette Art Contemporain, Montreal (ca)
Art Toronto int. Art fair, Galeria Begona Malone, Toronto (ca)
Locus Horribilis, Art Metropole, Toronto (ca)
Summer Splash, Christopher Cutts Gallery, Toronto (ca)
Efficiency, Mind Control, Toronto (ca) 2004
Monkey see Monkey Do, Spin Gallery, Toronto (ca)
Le Salon de Printemps, Spin Gallery, Montreal (ca)
Drawing Attention, Spin Gallery, Toronto (ca)
Illdoll, Spin Gallery, Toronto (ca)
Manifestations, Pierre-Francois Ouellette Art Contemporain, Montreal (ca) 2002
The New Romantics, Revolver A-Level, Toronto (ca)
Dark Movement, Art System, Toronto (ca) 2001
Aesthetic Evil, Art System, Toronto (ca)
Bailey Fine Arts, Toronto (ca)
Gerard Gorce Beaux-Arts, Montreal (ca)
Pierre-Francois Ouellette, Montreal (ca)
Ron Martin, Toronto (ca)
Collette Tougas, Montreal (ca)
Jerome Fortin, Montreal (ca)
Ed Pien, Toronto (ca)
Donal Loque, LA (us)
Fernanda Faria Toronto (ca)
OCADU University of Art and Design
SHERIDAN Institute of Applied Arts
OAC Film/Video Creation Production
FAULT, 38min. Animated Film, DIGI-BETA 2007
ILLDOLL, 14min. Animated Film DVD 2003
oil on panel or canvas / love supreme for a dead regime / (sculpting in oil)
or current and recent demands the work makes of me.
or recent resumption of oil monopolized the direction of my production, in a most “attributes of the medium” sculptural tone.
The aesthetic of surface-noise nostalgia with its measured erosion, and relentless images of scholastic meditation attract and seduce me.
I seem to force this attrition with application of oil as much as within the strange beauty of terrain.
Art clean via Isolation, secular in its archaic devotion, seduction in full swing / the three Graces in a world where life is cheap.
Influences surrounding my arena of consumption are admittedly mostly contaminated projections. Need, desire and the limits
of articulation determine my relation with value of beauty.
How it propagates what is referenced outside those doors,…
acrylic on paper / tore / (erasure by lacerations)
Wrought by concerns of line quality and structure, these works are my most formally built and narratively remote in years.
When the midi-tone result of charcoal erasure lacked the pure contrast needed, laceration or exfoliation was in order.
Resorting to a reverse opacity for erasure, I began ripping up thin surface layers of the paper, exposing the white to re-articulate the
black line via sort of erosion. An addiction quickly set for the resulting stress of scrubbed or impasto acrylic, islanding course
rivers of white. This technique fulfils a caustic, elemental usage my established relationship with raw charcoal has left me demanding
of other mediums.
charcoal on paper / clean salvage / (not to draw my drawings)
or when my mind becomes jealous of the quality of the marks I’ve made unconsciously in the periphery of my vision.
or what to do when the sight of a marks intent made to consciously begins to sicken me.
The body of work in the Exhibition “Clean Salvage”, has been built through a process of elimination and displacement.
The displacement occurs by forcing whatever medium used into areas outside my focal point while working in another direction
entirely. When sufficient material has been sculpted and layered in these peripheries, the focus is then placed on these
residual areas to be cut away and valued for their own potential independence.
There can be no “no” answer to the risk questions of whether to pull the knife out separating deserving grounds.
In this way culling formal purities occurring randomly on a level almost beyond psychology in the making.
These margin follow-throughs, bleeds and residuals, make for beautifully unconscious less drawn less built “graphica”.
forward / Samantha Crowhurst 2012
Through a variety of approaches to the mythological landscape, delving into fervent and psychosomatic territories with fear,
desire and intimacy: producing ”clean” uncensored pictorial landscapes filed with tension.
With intense manufactured and aesthetically original mythologies, Christopher Lori exposes the veracity of his own account,
sculpting hidden and intimate pressures to be clean in nature - persuading himself of the worth and states of daily, emotional
needs continually nailed to the wall.
born in St. Catharines (ca) 1970.
A fraternal-twin of Irish and Italian decent Christopher Lori has been drawing and painting since childhood.
He has attended studies at both OCADU and Sheridan Institute Of Applied Arts, participating both nationally
and internationally via galleries such as Pierre-Francois Ouellette of Montreal, Gallery Poulsen of Copenhagen
and Galeria Begona Malone of Madrid.
Christopher currently lives and works in Toronto (ca)