Joe Fleming has exhibited internationally for over 20 years with solo exhibitions in Singapore, Toronto, Vancouver, Calgary and New York City. He has lectured at universities in Canada, the United States and South East Asia since 1993. His paintings are included in many public and private collections such as: BMO Financial Group, Trimark Mutual Funds, Honeywell Bull, Prince Waterhouse Coopers (Malaysia), HSBC Bank, A.T. Tolley Collection, Australian High Commission, Canadian High Commission (Kuala Lumpur), the Art Gallery of Edmonton, the Museum of Civilization (Hull, Quebec) and the Holocaust Museum (LA). Fleming has exhibited in numerous international art fairs: Art Stage (Singapore), FIAC (Paris), Arte Cologne (Germany), Scope (New York and Miami), Papier (Montreal) and TIAF (Toronto). He has received recognition for his work in Carte Blanche 2: Painting – a survey of new Canadian painting (The Magenta Foundation), 60 Painters in Canada, The Artist’s Studio (by Joseph Hartman), American Illustration, Imago Mundi, Design Lines Magazine, Azure Magazine, The Globe and Mail, Now Magazine, CBC, Chelsea Now and The Wall Street Journal Magazine. Fleming lives and works in Toronto, Canada.
Current Feature Exhibition: Silver Harley
June 8 - July 20, 2019
Select works by Swiss artist Christian Gonzenbach will accompany the exhibition.
Fleming’s new series, Silver Harley, grapples with figuration and abstraction. Found animated drawings are torn, deconstructed and morphed into fantastical images with a social and political narrative at a time when our beliefs and values are being challenged daily. Hand and machine are employed and mark making happens on both sides of the transparent surface, creating a play between figure and ground in a modernist way. Light travels through the surfaces casting shadows and involving the wall in the experience.
Reviews of Suckerpunch, solo exhibition @ Mike Weiss Gallery NYC, 2014:
interview with Studio Beat
Excerpt from exhibition text “The Escape Club” by Graham Gillmore, Nov. 2017
“But it is paintings’ potential, as well as it’s exhausted past that makes these images resonate, giving them their bloodline, as they coerce history into fantasy. If the shock of the new has been demoted to modernity, Fleming’s paintings strive for irreverent sophistication without tagging the Mona Lisa with a moustache.”
R.M. Vaughan June 23, 2012
“Fleming uses construction scraps and found objects to create short but very thick pile-ups that leap off the wall. Then he slathers his hoardings with gobs and bucket wallops of candy bright paint. Weirdly, this messy sounding scheme results in works that betray a ruined elegance, the allure of the dishevelled (what is known in club culture as being a “hot mess”) – all of which makes me suspect that despite the outward slap-dash action, Fleming is a highly calculating painter.”