APRIL 29 to JUNE 3

  Zeke Moores,  Wooden Crates , cast aluminum, 64” x 24” x 16”. Photo Credit: Frank Piccolo.

Zeke Moores, Wooden Crates, cast aluminum, 64” x 24” x 16”. Photo Credit: Frank Piccolo.

OPENING RECEPTION: Saturday, May 6 from 2 to 5 p

Join us on Saturday, May 6 from 2 to 5 p for the opening reception of Cast Off. Zeke Moores will be in attendance. For more information, please visit our Facebook event page.

  Zeke Moores,  Boxes , cast bronze, dimensions variable. Photo Credit: Lucy Howe.

Zeke Moores, Boxes, cast bronze, dimensions variable. Photo Credit: Lucy Howe.


On first glance, most objects directly mirror their utilitarian role in their qualities and characteristics; however, if one looks more closely, one sees an inherent hierarchical system of value imposed on objects by their surrounding cultural contexts. By providing a visual ingress into the worlds of “common” objects, an opportunity arises to consider how issues of representation, value, and perception figure into one’s viewing of an object, transforming it from a functional item to a cultural icon.

Within the exhibition space, wooden barriers and small clusters of cardboard boxes engage in a dialogue about their purpose and function. The act of casting the humble box in bronze memorializes the small subtleties of its ephemeral existence. Each rip, dent, tape mark, staple not only reminds the viewer of the object’s former life, but also aestheticizes each piece as unique, beautiful, and permanent.

A stack of 5-gallon buckets, towering approximately 8 feet high, references the architectural usage of columns or pillars to sustain the roofs that provide us shelter. Yet, this particular form, referencing mass production through the act of “stacking,” also highlights our current culture’s obsession with material accumulation and its inevitable demise; the system is flawed, the structure won’t hold. Assimilation and specialization no longer work. Diversify or die. The aspiration of the middle-class to be supported by a Home Depot column will eventually crumble along with its form. This tower of buckets is empty, yet full of self-duplications. It is both a system and a fabrication.Zeke Moores (2017)


Moores explores the social and political economies of everyday objects and our complex relationships to them. By relying on traditional and industrial methods of manufacturing, Moores literally and metaphorically “recasts” seemingly unimportant mass-produced objects and everyday commodities, questioning their initial creation and the ideologies behind them.

  Zeke Moores,  Barrier , cast bronze, 32" x 30" x 72". Photo Credit: Toni Hafkenscheid.

Zeke Moores, Barrier, cast bronze, 32" x 30" x 72". Photo Credit: Toni Hafkenscheid.

Moores earned a MFA from the University of Windsor Ontario, and a BFA from the Nova Scotia College of Art and Design. He has exhibited nationally and internationally at such institutions as: the Memphis Metal Museum (TN), The Rooms Provincial Art Gallery (St. John’s, NL), Grounds for Sculpture (NJ), Art Mur (Montreal, QC), and the Contemporary Art Institute of Detroit (MI). Moores has taught at the University of Windsor and Brock University. He currently teaches at York University in Toronto, ON.





APRIL 29 to JUNE 3


  Susan Schelle,  Faux , digital c-print, 60” x 16”.

Susan Schelle, Faux, digital c-print, 60” x 16”.

In response to Zeke Moores’ Cast Off, where ordinary discarded objects are cast into permanence, KATZMAN CONTEMPORARY presents IMPOSTERS, an intimate exhibition that explores our current challenge of determining “authenticity” and “believability” when confronted with information. In our era of fake news, propaganda, alternative perspectives, zombie lies, conspiracy theories, and falsified academic papers that have us questioning the validity of any and all information, IMPOSTERS presents artwork that questions the nature of what is seen. The exhibition features two new photograms (2017) by Janet Jones entitled Space Junk that make the viewer wonder as to the alien origins of the materials; two delicate pieces by Meghan Price in which the artist literally blurs the lines between the pinstripe fabric and her stitching interventions; photographs of objects by Braden Labonte that seem to be 3D rendered, but are, in fact, actual objects painted to appear as something else; and digital c-prints by Susan Schelle that feature cryptic messages on the barks of trees in response to the tagging practice of forest rangers.