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Anchor 1
SEPTEMBER 1-24, 2016
SEPTEMBER 1-24, 2016
OPENING SEPT 1, 2016 7-10

Taking possession of space is the first gesture of living things, of men and of animals, of plants and of clouds, a fundamental manifestation of equilibrium and of duration. The occupation of space is the first proof of existence.


So opens Le Corbusier's defining essay NEW WORLD OF SPACE. It articulates a particular, at times synesthetic, poetics of spatial domination that fused a Romantic idea of the sublime with the fetishization of proportional harmony. The Parthenon was taken as the ultimate example of this ideal, Corbusier describing it and its relation to the landscape in mythic terms, seeing it as a source of terrifying drama and perfection.

The work in this exhibition is based on the villas Corbusier and his cousin Pierre Jeanneret designed in their early years, homes that helped set the standard of modern upper-middle class living. However grand a conception of architecture the Parthenon provided, much of their work was the design of single family dwellings. The design of the ideal modern home was an important aspiration for this generation of architects, as a blueprint for society-at-large but also because many of their patrons were, of course, wealthy, culturally progressive industrialists who wanted such homes.


Pouring over photos of these houses taken at the time of the buildings' completion I was struck by their tranquility and by their clarity of perspectival space, the harmonious proportions, the gridded floors, the central vanishing points, by the control of light and darkness. To me they embody a particular apex in the development of Western perspectival space, the culmination of a philosophy of spatial organization and dominance that stretches back centuries but which also heavily informed the digital imaging of space.1 I was also struck by the tension between their historicity and their more quotidian aspects, their absolutely bourgeois taste. Both the perspectival mythology and the conflation between historical time and domestic time are the basis for this exhibition.


The Living Room has been a collaborative project. The sound elements of the installation are based on recordings of excerpts of several texts that were instrumental to the development of this body of work: Corbusier’s New World of Space, Erwin Panofsky’s Perspective as Symbolic Form and Anthony Vidler’s Warped Space. They were developed, performed and recorded by the artist Ziyang Wu, whose practice is concerned with instances of translation and alienation related to globalization.

1 Anthony Vidler, Warped Space (Cambridge Massachusetts: MIT Press, 2000) 7.

Lansdowne (CDN b.1983) is recognized as one of Canada’s top watercolour based fine artists. Lansdowne continues his investigation of landscape and architecture in relation to ideas of permanence and function. Lansdowne holds a BFA from OCADU and an MFA from Rhode Island School of Design, and has exhibited locally, nationally and internationally. Lansdowne was short listed for the RBC Painting Competition in 2012. Lansdowne’s work has been exhibited at the Kitchener-Waterloo Art Gallery, the Museum of Contemporary Canadian Art, The Mendel Art Gallery, and the Boston Centre for the Arts. Work is held in many private collections as well as the collections of The National Gallery of Canada, The TD Bank Collection and the RBC Collection.

Please contact the gallery with any inquiries.

Provisional Futures
Weather Station
Autonecropolitan I
Fata Morgana 2012
Fata Morgana 2012
Fata Morgana 2012
Fata Morgana 2012
Axis Mundi
Empire of Dreams
Tristram Lansdowne - String Theory
watercolour on paper, 2014, 21.25 ” x 14”
2016 - RISD MFA GRAD SHOW Nancy Margolis Gallery NYC
2014 -  Provisional Futures - Kitchener Waterloo Art Gallery, ON
2014 - Contractions - LE Gallery Toronto
2012 - Fata Morgana - LE Gallery Toronto
2010 - Refuge - Joshua Liner Gallery NYC

2010 - Archimancy – LE Gallery, Toronto

2009 -  Entropical Paradise – LE Gallery, Toronto

2008 - Structural Integrity – LE Gallery, Toronto

2007 - Beautiful Decay – Winchester Galleries, Victoria BC


2016 - Terraformers – Bonington Gallery, Nottingham Trent                              University, England (upcoming)

2016 -  Imagined Futures – Stewart Hall Gallery, Pointe-Claire QC

2015 -  Half Master – Microscope Gallery, Brooklyn

2015 -  UFO Hunters – Sol Koffler Gallery, Providence RI

2015 -  Fever Dream –  Gelman Gallery, Providence RI

2014 -  Order of Operations – Breeze Block Gallery, Portland OR

2014 -  Contemporary Drawings From the Drawing from the                               Collection of the National Gallery of Canada
              Mendel Art Gallery, Saskatoon

2012-14 Ecotopia – Kitchener-Waterloo Art Gallery; Southern Alberta                Art Gallery

2012 - Space/Form – Breeze Block Gallery, Portland OR

2012 - Death and the City – LE Gallery, Toronto

2012 - 60 Painters – Humber College School of Arts and Media,                        Etobicoke ON

2011 - RBC Painting Competition Finalist Exhibition – Art Gallery of                 Alberta; Art Gallery of Hamilton; The Power Plant

2011 - Hanged & Drawn – LE Gallery, Toronto

2011 - Contained – Boston Centre for the Arts

2010 - Empire of Dreams: Phenomenology of The Built                                      Environment – Museum of Contemporary Canadian Art,                        Toronto

Tristram Lansdowne - Blinkers

watercolour on paper, 2014, 21.25 ” x 14


1183 Dundas St. W.

Toronto, Ontario, Canada



Director: Wil Kucey

Gallery Manager: Vinna Ly 


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