The Collector's Project with Ashley Mulvihill of Ninth Editions

Living with art brings me a lot of happiness. It’s a combination of so many of my favourite things including history, philosophy, material exploration, and aesthetics in combination with the very real and individual human experience of the person who created it. It is a connection to other human beings using a method that dates back to the dawn of civilization. For me, every artwork is a portal into another world. Art allows me to step outside of my own reality and I love how humbling and refreshing that can be.

 

I’m, of course, a woman obsessed. I look at art all the time, for work and pleasure, and overtime I’ve developed a bit of a framework for how to identify artworks I like and why. First and foremost, I want to have a visceral reaction when I see an artwork. Visually how does it impact me? What do I like about it? How is the artist experimenting with their medium? How is this different? I also want to have an intellectual connection with the piece. What conceptually interests me about this artwork? How is the artist’s approach unique? What questions are they asking? What questions does it motivate me to ask? Looking at art is an active exchange, never static, and always evolving. The artworks I’ve selected for this collection all engaged me in these ways and left me thinking about them long after the fair. 

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Ashley Mulvihill at Drake Commissary.
Photo by Louisa Nicolaou

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Alison Postma, A Floral Arrangement and a Phonecall, 2019.

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Florence Solis, Untitled, 2019.

Alison Postma

I’ve been following Alison’s career for a few years now, I’m a big fan of her work and love how it is constantly evolving. She uses photography, a medium we’re all familiar with, in a very distinctive and thoughtful way. The colours are vibrant, the arrangements are playful, and she continues to experiment with the format. Alison often employs the use of discarded or overlooked materials in
her compositions, reframing them for the audience, so we look at these objects in a completely different way. I find her contemporary approach to historic still-life painting, a practice dating back to the 15 century BCE, really youthful and unique.

 

Florence Solis

When walking through the fair I was immediately struck by Florence’s work. The vibrant palette, movement, and detail in her paintings feel full of life and balanced at the same time. I’m really drawn to the way she plays with depth, layering in elements that appear to float on different planes of the artwork by using both flat painting and highly realistic detail in the sweeping ribbon-like shape that extends across
the canvas. There’s an almost digital quality in how it plays with your eye, but with that richness only painting can convey.

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Ioana DragomirIf red is the colour of italics (Dyptych), 2018-2019.

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Eun Young LeeCirculation2, 2018.

Ioana Dragomir

Ioana's series of diptychs excited me on many levels. Since falling in love with Joseph Kosuth's 'One and Three Chairs' (1965) I've had a particular fascination with artworks about chairs. There is something so innately human about them, the way we interact with them, the endless variety of chairs, their life cycle, and her approach to exploring this was really considerate.  Technically speaking her rendering of this chair is exquisitely executed, there's a crisp yet ethereal quality to it. It felt very lived in and has an anthropomorphic quality, as if it was experiencing an emotional response to something at work. I also love text-based work and how artists choose to display either their own words or extract elements from another's writing. This play between the two pieces, a chair once full of life and an abstract text excerpt, was really unique both visually and conceptually. I wanted to talk about this piece at length and quietly stare at it in equal measure. 

 

Eun Young Lee

Eun’s artwork has a fascinating textural quality to it. Using traditional rice paper stretched on wood panel the the artwork maintains all the sensibilities of paper but on a much larger scale than you typically see. Her abstract shapes seem to dance across the artwork and I was really drawn to this piece because of how it seems to transcend boundaries. It reads as a combination of language, music, and movement all existing within the layers of her painting. There’s a freedom and whimsy to this artwork but the precision with which Eun applies her materials creates a captivating balance.  

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Yi-Shuan LeeWa Ter Me Lon, 2019.

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Julia Campisi, 2019.

Yi-Shaun Lee

I really like artworks that make you wonder who the artist is as a human being, that make you tilt your head and question what was unfolding in their mind when they were creating it. This is definitely one of those artworks. It has so much personality, so much imagination, and a sense of humour we don’t see all that often in painting. Stylistically, the application of paint, the composition, colour palette, and perspective are incredibly dynamic acting as a portal to Yi-Shaun’s alternate universe we’re momentarily privy to. His approach to surrealism feels deeply
personal and refreshingly contemporary.

 

Julia Campisi

I love seeing the different ways artists use collage and Julia’s approach really caught my attention. Every precise cut shows the level of care she has put into her process. The artwork was placed on the outside of her booth and I thought this was a really smart choice to show how at varying distances you notice different elements within the piece. When buying an artwork, I think it’s important to recognize how we experience details up close and how those elements come together when at a distance. The imagery in this artwork also appeals to my long time obsession with Art Nouveau, its light and airy composition set within a single archway reminds me of the movements aesthetic.  
 

 

About Ashley Mulvihill, Curator/Founder of Ninth Editions

Ashley founded Ninth Editions, an online gallery selling limited edition prints and original works, to bring engaging
artwork by contemporary, emerging artists to a broader audience. She is also the curator for Drake Hotel Properties and advises on public art projects across Canada. 

 


In-situ artwork images done in partnership with Artrooms App.


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