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Knobby
Tree. Despite witnessing a clear mastery of medium, I am left feeling flat and wanting more. The social anxieties that loom over our current moment are nowhere to be found in these works, or in the text that accompanies them. Though I am hesitant to make demands on art, I can’t help but question the relevance of an incredibly joyful volume of new work made mostly in 2020 without even the slightest acknowledgement of a broader context.
I find this head-in-the-sand approach accentuated by the 1920s estate cottage architecture of Gairloch Gardens, where the largest of McIntosh’s canvases are hung. With an omnipresent lakeside garden view, the interior includes grapevine moulding, ornately panelled radiators, and an original fireplace. I was relieved to discover that instead of ignoring this far-from-neutral space, McIntosh had the wooden support columns that dominate the central room painted a deep, matte black. She did the same for the more modern columns at Cente ....

United States , British Columbia , Elizabeth Mcintosh , Gairloch Gardens , Centennial Square , Diaz Contemporary , Vancouver Island , Northern California , Oakville Galleries , ஒன்றுபட்டது மாநிலங்களில் , பிரிட்டிஷ் கொலம்பியா , எலிசபெத் ம்ஸிஂடோஶ் , கெய்ர்லோச் தோட்டங்கள் , நூற்றாண்டு சதுரம் , டியாஸ் சமகால , வான்கூவர் தீவு , வடக்கு கலிஃபோர்னியா , ஓக்வில்லே காட்சியகங்கள் ,