1 André Breton, “We Don’t EAR It That Way,” in What is Surrealism? Selected Writings, edited and translated by Franklin Rosemont (London: Pluto Press, 1978), 348 (a reference to Salvador Dalí’s painting The Anti-Matter Ear).
2 Peter Selz with texts by the artist, The Work of Jean Dubuffet (New York: The Museum of Modern Art, 1962), 103.
3 George Bataille, Prehistoric painting: Lascaux or the Birth of Art, translated by Austryn Wainhouse (Switzerland: Skira, 1955), 12.
4 Teresa del Conde, “Soulages en el Museo de Ciudad de México,” La Jornada en línea, July 16, 2010, http://www.jornada.unam.mx/2010/07/06/opinion/a10a1cul.
5 Nicole Collins, catalogue for the exhibition Sample (Tokyo: The Embassy of Canada, 2002).
6 Octavio Paz, “Transfigurations” (1968), in Octavio Paz, Essays on Mexican Art, translated by Helen Lane (New York: Harcourt Brace & Company, 1993), 220–21.
7 Octavio Paz, “From Criticism to Offering” (1960), in Essays on Mexican Art, 207.
8 Georges Bataille, “Joan Miró: Peintures récentes” in Documents 7 (1930), reprinted in Documents année 1930, vol. 2 (Paris: Jean-Michel Place, 1991), 399. Reference from Briony Fer, On Abstract Art (New Haven and London: Yale University Press, 1997), 82.
9 Briony Fer, On Abstract Art, 82–84.
10 Christopher Bollas, The Evocative Object World (London and New York: Routledge, 2009), 79.
11 Briony Fer, On Abstract Art, 79.
12 Eduardo Chillida, Escritos (Madrid: La Fabrica, 2005), 55.
13 Jacques Rancière, “Metamorphosis of the Muses,” in Sonic Process, published in conjunction with the exhibition Sonic Process: A New Geography of Sounds, edited by Christine Van Assche, translated by Stephen Wright and Gregory Williams (Barcelona: MACBA/ACTAR, 2002), 26.
14 Jean-Luc Nancy, Listening, translated by Charlotte Mandell (New York: Fordham University Press, 2002), 75.
15 Jean-Luc Nancy, Listening, 5.
16 Alain Badiou, The Century, translated by Alberto Toscano (Cambridge, UK: Polity, 2007), 132.
Nicole Collins has exhibited extensively since 1994, including solo exhibitions at The University of Waterloo Art Gallery (2013), The Art Gallery of Ontario (2013) and The Embassy of Canada in Tokyo (2001) and group exhibitions in Toronto, Hamilton, St. Johns, New York, Miami, London and Zurich. Her work has been featured online and in magazines, newspapers and books including the major survey Abstract Painting in Canada (Roald Nasgaard), the 3rd edition of A Concise History of Canadian Painting (Dennis Reid), Carte Blanche, Volume 2: Painting, and The Donovan Collection catalogue. Collins is an Assistant Professor in the Drawing & Painting program at the Ontario College of Art & Design University (OCADU) and she lives in Toronto with her husband artist Michael Davidson and their daughter. Collins’ work is represented by General Hardware Contemporary in Toronto.
David Dorenbaum is a psychoanalyst in private practice in Toronto, an assistant professor in the Department of Psychiatry at the University of Toronto, a member of the International Psychoanalytic Association and of the Lacan Clinical Forum in Stockbridge, Massachusetts. His interest in the relationship between psychoanalysis and art has led him to collaborate with various artists. His most recent essays have appeared in Incarnations, with Janieta Eyre, Coach House Press (2017), and Synchrony and Diachrony, with Robert Polidori, Steidl and the J.P. Getty Museum (2018).
The artist would like to extend warmest gratitude to: Daniel Collins, Ronald Collins, Bartley Collins and Fernande Collins for leading the way; the Koffler Centre of the Arts; Curator Mona Filip for great vision and empathy and for opening this contemplative space; David Dorenbaum for insightful conversation and titles assistance; Corrine Carlson and Jamie Crane for transforming the gallery; Kerri Reid and Tyler Brett of the Sointula Art Shed Residency where I first dove into the nets; Paul Moleiro for sensitive video editing; Frances Miller for expert recording, singing, editing and “the cosmic drone”; Frank Griggs our fearless pitcher; singers Pleasance Crawford, Charles Crawford, Naomi Duguid, Stella Green-Sanderson, Max Kelly, Gabriel Levine, Andrew Louis, Jan May, Tim McCready and the community of Shape Note Singers worldwide; Chris Westcott, stone whisperer; studio mates Stella Cade, Azadeh Elmizadeh, Trudy Perks and Margaux Smith, for making our work space a haven of creative actions; OCADU for requiring and supporting my art practice, especially the students, who keep me on my toes and endlessly amaze and inspire me; Kim Chiotti, my sounding board and great collector; Niki Dracos, General Hardware Contemporary, for keeping it real; Matilda Davidson whose creative path is just beginning; and always, Michael Davidson, for 36 years of persistent inspiration, encouragement, critique, support and love.
Design: Tony Hewer | Editing: Andrew Zawacki, Shannon Anderson
Digital Publication to the exhibition Nicole Collins: Furthest Boundless
Presented by the Koffler Gallery | January 18 to March 18, 2018 | Curator: Mona Filip
© Koffler Centre of the Arts, 2018, in collaboration with the individual contributors. All rights reserved. ISBN 978-1-928175-14-8.