Gathie’s Cupboard (1988-1998)

  • Gathie’s Cupboard, 1988. Lithograph. 56x76cm. Coll: The National Gallery of Canada. ©CARCC.

    Gathie’s Cupboard, 1988. Lithograph. 56x76cm. Coll: The National Gallery of Canada. ©CARCC.

  • Gathie's Cupboard Polyptych (panel 1), 1998. Oil. 91x60cm.  ©CARCC.

    Gathie’s Cupboard Polyptych (panel 1), 1998. Oil. 91x60cm. ©CARCC.

  • Gathie's Cupboard Polyptych (panel 2), 1998. Oil. 91x95cm. ©CARCC.

    Gathie’s Cupboard Polyptych (panel 2), 1998. Oil. 91x95cm. ©CARCC.

  • Gathie's Cupboard Polyptych (panel 3), 1998. Oil. 91x130cm. ©CARCC.

    Gathie’s Cupboard Polyptych (panel 3), 1998. Oil. 91x130cm. ©CARCC.

  • Gathie's Cupboard Polyptych (panel 4), 1998. Oil. 91x95cm. ©CARCC.

    Gathie’s Cupboard Polyptych (panel 4), 1998. Oil. 91x95cm. ©CARCC.

  • Gathie's Cupboard Polyptych (panel 5), 1998.  Oil. 91x60cm. ©CARCC.

    Gathie’s Cupboard Polyptych (panel 5), 1998. Oil. 91x60cm. ©CARCC.

  • Gathie's Cupboard #4, 1988.  Pencil. 28x30cm. ©CARCC.

    Gathie’s Cupboard #4, 1988. Pencil. 28x30cm. ©CARCC.

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“Martin’s ’emblems’ also bear the marks of suffering; they wear their wounds like stigmata. An analogy with Christian imagery, especially the crucifixion is not unwarranted. Martin explicitly links her Transfiguration series (1991) with the Christian notion of the ‘word made flesh’.”

Christine Conley, “The Emptiness of the Flesh” (catalogue essay). Jane Martin: Gathie’s Cupboard 1988-1998, Carleton University Art Gallery, 1999.

“[The ground-breaking exhibitions that included work by Gathie Falk (which inspired Gathie’s Cupboard) opened] up a space in the canon of Canadian art to assure the recognition to women artists who have made significant contributions to the visual culture of Canada. Martin’s work finds its place easily in this tradition.”

Michael Bell, curator & director, CUAG. “Preface”. Jane Martin: Gathie’s Cupboard 1988-1998, Carleton University Art Gallery, 1999.

“Martin’s work…makes us think of the body as a map to an unknown country.”

Nancy Baele, “National Gallery prints, drawings live up to exhibit’s Odd Bodies title”. The Ottawa Citizen 1/12/96, p.C7.

“Gathie’s Cupboard provokes a double-edged response: on the one hand, there is the visual seduction of colour, pattern and painterly surface, while on the other, the anxiety aroused by the proximity of immanent corporeality. This oscillation between pleasure and dread is symptomatic of encounters with the Real of the body in art.”

Christine Conley, “The Emptiness of the Flesh” (catalogue essay). Jane Martin: Gathie’s Cupboard 1988-1998, Carleton University Art Gallery, 1999.