Casting a glance over the contemporary Canadian art landscape, one needn’t look far to find a project, installation or exhibition by Shary Boyle; she seems to be everywhere today, and with good reason. Her otherworldly aesthetic is transfixing and unmistakable—at once extraordinarily intricate and beautiful, and more than a little unsettling.


 Silver Buckle, 2010; porcelain. All images courtesy the artist and Jessica Bradley Inc.


 The Clearances and Skirmish at Bloody Point, 2007; acrylic and gouache on paper, gold foil on card, collage, acetate, thread and three projectors

Boyle’s oeuvre includes sculpture, painting, printmaking, light projections, live performance and internet websites, among others; her work comprises a diverse range of media and scale, from pieces which can fit in the palm of one’s hand to expansive installations. Her intimately sized porcelains of fairy-tale-like creatures feature disconcerting details—disjoined limbs and sexual undertones—which render them thought-provoking rather than precious. On the opposite end of the scale spectrum, Boyle creates extravagant, gallery-sized projections of brightly-coloured landscapes with a eerie side—a dark vein running through their kaleidoscopic beauty.


 Burden, 2009; porcelain


 White Light, 2010; foam, textile, string, porcelain, hair and black light

A Toronto-based artist who works and exhibits internationally, Boyle is represented by Jessica Bradley Art + Projects, and is an impassioned advocate for the development of the art community here. She is quickly becoming a household name, and seems poised to soon break out into international consciousness, as well; Boyle was chosen to represent Canada at the 2013 Venice Biennale, creating a characteristically mystical, immersive environment in the Canadian Pavilion, which remains on view through November 24, 2013.