Ray Caesar Catalogue Final Proof

Published March, 2017 by Gallery House

All rights reserved. No part of this publication may be reproduced or transmitted in any form or mean, including photocopy,
recording or any other information storage system, without prior permission in writing from the publisher.

All Ray Caesar works are reproduced with the permission of the artist. All images are Copyright © of the artist and Gallery
House Inc.





This catalogue is the second in Gallery House prides itself on in art collecting management and
a series of catalogues we are being innovative and presenting installation, and provide services to
producing, and how fitting to begin established and promising artist our artists so they can concentrate
with our long-standing family works in different parts of the world. on doing what they do best — being
member, friend and artist Ray Presently the art market, like much creative and making art. We pride
Caesar’s solo exhibition “Tainted.” of the world, is exhibited online and ourselves on presenting works of art
purchasing works is becoming more to our collectors that resonate with
Ray’s digital paintings exist in a of a virtual experience. We have them and create a forum of dialogue
world unto themselves, a place that created Gallery House as a hub for and education.
is not on any map or mentioned in our artists to call their “home” while
any guidebook. Ornate, architectural supporting our partnered dealers in Unlike the traditional model of a
and sinister, they echo the grandeur over 10 countries (and growing) in gallery and artist, we work alongside
of Reynolds and Gainsborough and their brick and mortar businesses. our artists, creating long-term
the grace of Rococo artists Watteau relationships with them and our
and Boucher, but have a dreamy, Gallery House has been in the dealers. We do this because we are
dark, otherworldly quality that feel business for almost two decades. dedicated and passionate and truly
both sensual and sinister. This is a We provide secondary sales of believe in what Art can bring to each
truly wonderful show. works, appraisal services, specialize community.



My work is a reflection of the trauma and invisible marks and one of the tangible result of that negative and
and nostalgia of my past and my most insidious is the sense of feeling positive energy made manifest from
ability to resolve that complex past different and apart or polluted. My ingredients both beautiful and foul
through a form of communication of past has in some way infected and and formed into a kind of perfume.
my subconscious to my conscious tainted my very soul. Within its floral scent is a odor
self. For me my work is not in its somewhat tainted and questionable
beginning made as “Art,” it is a We all have a complex past and I have to admit its the response
primitive coping mechanism and whether we think so or not, and to that slight and subtle ephemeral
a form of communication through we all struggle to resolve painful aspect that interests me. I like to
images. As a child I used images issues and move forward into a think that perfume sits differently
as a way to manage emotions that hopeful and brighter future. In many with each viewer as it mixes with
were dangerous for me to express ways we are all on the same path their own past and forms feeling
in the family and environment I with varying degrees of baggage and emotion, and in that mirror is a
grew up in. I used pictures to form boarding a train whose destination reflection that completes what we
a subconscious aspect of self is the hopeful dawn of next day we call Art.
that manifested in a dissociative all call “tomorrow.” I tend to think
paracosm that some call “fantasy” of the effects and memory of my
but for me has always been an past as energy, a kind of malleable
alternate reality. Childhood trauma Plasticine that is both dark and light.
is complex and leaves its visible My work is is simply the physical

My work is often a reflection of
myself, which is an elusive part
of who I am fractured into many
pieces. The dissociative aspect
of my identity was a great coping
mechanism in childhood which
allowed parts of me to escape into
an alternate reality, which I am told is
of my own construction. I may never
know who I truly am and why my
fractured personality lives partly in
this world and partly in other worlds
of my own making. It has been
comforting to create visual windows
into the paracosm worlds I exist
in and sometimes become lost in.
These worlds can be pleasant and
nice, and sometimes they can be
dangerous and violent, but above all,
they are a true and honest reflection
of who I am.

The piece Madame R is less of an
homage to Jacques-Louis David
and more of an affection and
admiration for Juliette Récamier and
her life. At the age of 15, she was
rumoured to have been married to
a man who was in truth her natural
father, and her salon soon became
a fashionable gathering place for
the great and near-great in politics
and the arts. In reading of her life, I
am taken by her gentle nature but
also her heroic efforts to change
and influence the world around her
through networking and connecting
with others.

Madame R, 2015
30 x 40”

Digital Ultrachrome on Archival Paper
Edition of 20



The Hive, 2017
30 x 30”
Ultrachrome and Acrylic Medium on Canvas
One of a Kind

I have always been in a state of Somewhere at the centre of each hopes and dreams which can be
wonder of the complex architecture human mind is a royal chamber, reflected as the drones and workers,
of Beehives. As a child, I imagined a single essence or seat of the industry of the hive. She has
great royal palaces inside the consciousness that for me is a purpose, and the entire collective
Queen’s chamber. That imagined spiritual representation of the soul consciousness of the hive is
magical sense of the inside and and our sense of self. That core of dependent on her as she depends
the reality of the outside has been subconscious is represented in my upon them. She is both master and
a constant in my work from the work as the doorway to something slave in a complex dance that for me
beginning. Symbols of hives have I call “The Super-conscious”; that is a mirror of my own conscious and
always been representative of field of awareness that binds each subconscious mind.
industrious nature, but my own life in a inexplicable connection
sense of the hive is a symbol of that we sense exists rather than the Hive Study, 2017
the subconscious world storing certainty of knowing. The queen 26 x 20”
an infinite and endless chamber of of this centred mind is supported
memories and thoughts throughout and trapped by the endless buzz Digital Ultrachrome on Archival Paper
a lifetime. of constant thought, memory, Edition of 20



Words of Wisdom, 2011
24 x 40”
Digital Ultrachrome on Archival Paper
Edition of 20

It’s about listening to the quiet things
in this world. Mother Mantis was
an older piece I did because I was
fascinated with “Mantis,” one of
the oldest African Gods... maybe
the oldest God. To me, God has
always been Earth ...Gaia ...the
Mother Goddess. I can’t imagine
a God that is male unless it’s a
demon god, or at the very least a
minor self important deity of his own
making. My mother was what we
might call a “pagan” ...what people
call a witch or wiccan. She believed
in astrology, psychics, reading tea
leaves, and spells involving things
like death watch beetles. She was a
strange person and a mystery to me
but many of her pagan ways made
sense — simple spiritual beliefs
that revolved around an “Earth
Mother” goddess of fertility. My
mum wasn’t what you would call a
nurturing person and you either sank
or swam under her gaze. But she
could bring life forth in her garden
and grow just about anything in a jar
by the window. I am convinced that
nature speaks to us but her words
of wisdom are lost on our inability
to listen. If I had to believe in a God
or more aptly a Goddess, it would
be this singular unique world of
amazing life and beauty, and I would
have no problem worshiping at that
altar.

Tainted Letters, 2017
28 x 10”

Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Tainted Study, 2017
12 x 12”
Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

In the summer of 1966, my family and part of its Empire. I began life had changed and I possessed an
took a road trip to Cornwall and it swallowing sea water, but soon I awareness and a sense of difference
was the first time I placed my foot was swimming under the depths as if that initiation was the first day
in the sea. I had been to Brighton with no need to breath and floating of a new life. I was tainted by that
a few times but for some reason I in a wonderful brilliant blue realm of infinite sea and its salty taste has
didn’t think that counted. We had incredible coloured sea plants that never left me and still saturates
recently been informed by the British was glorious and magical. I can still my very soul. If I didn’t belong to it
educational system that all life remember the absolute beauty till before, I certainly did now and the
sprang from the ocean, and all the this very day. Then I was back on sea never gives up what it wants to
pink bits on the map were part of the beach coughing up brine and possess. Each night I sink again into
the Empire, and that we had better spewing out seawater through my my dreams and drag back fragments
not forget it. My brother had warned mouth and nose and eyes and lungs. from the salty brine and depths of
me of a drop in the sandbank where Unbeknownst to me, my brother my own subconscious sea, and on
the water became very deep past was frantically searching after seeing rare occasions, seemingly connect
a point, but I ignored him as was me go under, had finally found me to what I can only think of as the
my usual practice in those green sinking into darkness and dragged superconscious. The vast ocean
salad days. Walking out into the me to the surface by the hair on my depth is patient and it awaits all of
ocean, I dropped like a stone and head. I don’t know how long I was us to return and swim in its brilliant
the sea swallowed me up as if it gone, or if I had died and come back blue realm but I am aware of its
was waiting for me ...as if I was from some deathly realm, or if the patience too, and I am in no hurry.
returning home and it was claiming life I am living now is just a fiction of
back what was rightfully its property the one I lost....all I know is that my

Tainted by the Sea, 2017
One of a Kind Ultrachrome and Acrylic Medium on Canvas
30 x 24”
One of a Kind

Digital Ultrachrome on Archival Paper
20 x 16”
Edition of 20

The Forgotten, 2013
30 x 40”
Digital Ultrachrome on Archival Paper
Edition of 20

A memory can live all alone, and land of memory and surprise myself
with passage of time, it can be with what I have left behind. A
forgotten ...but “it” still exists, even certain smell, a sight of a grin with
though it is no longer acknowledged. decaying teeth, or a note played on
Our ability to forget might be a a piano can suddenly find that place
survival skill where we live with in each of us, like a key unlocking
the illusion that something did not an ancient door. I am not surprised
happen, but there is always that at the unpleasant things I have left
place where the forgotten memories there but I am perplexed as to all the
live. They exist as if written in stone, good things that were left along with
even if we choose to not remember. the bad. Perhaps I hid them there for
On occasion, I tread in this strange safekeeping.

Royale, 2016
30 x 30”
Digital Ultrachrome on Archival Paper
Edition of 20



La Chasse or “The Hunt” is about what has taken place but seemingly to see the tiny painting clearly, so I
the way we can recover innocence incapable of pulling myself out of it. began to laugh and cry at the same
and the ability to survive for a I have a lot of humour about it and time. I am lucky I wasn’t thrown out
better day. It is about finding sometimes it can be quite funny as by security (which has happened
treasures we buried in childhood even my dog can notice my fugue in museums before because I
that have been in the dark, until state and will jump on me while I am have trouble with self important
we embark on a journey to find sitting on a park bench and lick my narcissistic men in uniforms). I
them again. The piece began as a face for a few minutes until I come remember thinking that if the Louvre
response to an emotion or sense out of it... god knows what he was was burning I would beat down
of hope I found when I first started licking beforehand. the flames with the Mona Lisa and
psychotherapy many years ago. For save this tiny painting that no one
much of my life I have dealt with an La Chasse was inspired by the seemed to be interested in. What I
odd form of Dissociative Identity sense of calm and tranquility I love about the work of Watteau is
Disorder which developed as a found in several works by Antoine his self indulgence, his pure ability to
coping mechanism to a traumatic Watteau. I knew of his work for show his passion and kindness and
childhood. For me, the disorder is many years but about five years ago, gentleness on his sleeve. It’s as if
primarily manifested as a repetitive I was in the Louvre and was able he speaks to us over the expanse of
response to stress, whereby I fall to see the piece called Les Deux almost 300 years as if to say ... “See!
into a dissociative fugue, which is Cousines, which had a profound ... This is how I feel! ... This is how
like having an intense deep and effect on me. It is a tiny piece, a I see the world through my eyes.”
troubling daydream from which very unusual composition, and I I find that kind of communication
you cannot escape. These fugues loved the interplay of the figures, of profound. He lived a very short life
usually happen when I am alone with how one shyly seems to observe and knew he wasn’t long for the
my own thoughts, and although I the interaction of the other two. It world and traveled by foot and
do not have what is called “missing somehow reminds me of how one painted things he loved.
time,” I do have distorted or wasted part of me observes the other parts
time. I can wake from the fugue of who I am. I remember tears filling
and several hours have passed and my eyes and being frustrated that
luckily I am still somewhat aware of those tears were not allowing me

La Chasse, 2011
48 x 48”
Digital Ultrachrome on Archival Paper
Edition of 20

Tree of Time, 2017
9 x 9”
Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Muse, 2017
16 x 16”
Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

I think it is fair to say that my father that brought out his uncontrollable self-possessed and terrified, and
was a troubled man and his troubles narcissistic rage. He would lose yet dangerous. We don’t have to
were in a form of sadistic brutal all rationality at someone in the look far in today’s world and see fine
narcissism that would switch to a supermarket lineup or become examples of similar tiny worlds with
panic ridden anxiety in a moment’s enraged in a shoe shop if they didn’t little kings at their centres and all the
notice. In many ways I thought he have his size, and once started a words of wisdom seemingly going in
must be of another species, not fight at the Santa Claus Parade one ear and out the other. What truly
of the human kind, especially to a because a man with a child on his surprises me is that there are parts
young boy who had to deal with shoulders stepped in front of him ... of my own mind that sometimes
him on a daily basis, who didn’t not angry that the man was blocking don’t listen to other parts of my own
have access to a yet un-invented my view ... but was blocking my rationality. It’s as if a part of who I
internet. I knew something was father’s view! People would see am is absorbed in something else
wrong with him and that he was him and cross the street. There and another part of me is screaming
not normal ... keep in mind that were times it seemed as if he was in my ear. I suspect that there is a
“Normal” was different in the 1960s. in my charge, that I was the father lot lost in our conscious mind that
There was no section I could find in and he the son; that it was my job our subconscious is endlessly trying
Funk and Wagnells Encyclopedia to look out for him and support to communicate. Perhaps there is a
or in Popular Mechanics magazine the tiny inward looking world of piece of my father still inside of me
that could explain the irrationality of which he was the centre. All I can that I am struggling to look after and
my father to me. I can remember as remember were my words of calm that does unsettle me more than I
a child trying to clutch the tobacco and rationality that were lost like a choose to admit.
soaked naugahyde of his overcoat song, going in one ear and out the
to drag him away from situations other to a dandy wolf who is both

In One Ear & Out the Other, 2017
One of a Kind Ultrachrome and Acrylic Medium on Canvas

48 x 40”

Digital Ultrachrome on Archival Paper
36 x 30”

Edition of 20



Red Wolf, 2017
24 x 24”
Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Pretty in Blue, 2004
25.5 x 17”
Digital Ultrachrome on Archival Paper
Edition of 20

My mother passed away almost 20 that my father was afraid of. He was that made me smile inside and I was
years ago and my memory of her, terrified of getting cancer, worried astonished at his complete inability
in some ways, is fading. She was endlessly about cholesterol and liver to just do what she said...everything
what could easily be described spots on his hands, about getting would be just fine if you just did
as a functional psychopath, and old, but he feared my mother even what she said — it wasn’t rocket
is probably why the dominant/ more. I cannot count the times she science. She was a complex person
submissive relationship of my would pick up a bread knife and and talking to her was like trying to
parents lasted so long with my walk into the room he was sitting defuse an un-exploded bomb — fun,
mother being the prototype of the in and just wait for him stop being but a bit dodgy, but doable if you
quintessential dominatrix. She was a problem. Once she picked up a had steady hands. I am not sure
the kind of creature that had no fear brand new canister vacuum cleaner that she loved me, especially in the
and no empathy. Strangely I could and threw it off our balcony when classic sense of that word, but then
do whatever I wanted as I was rarely my father came home with it from she may have been incapable of
noticed by her until, like a panther Sayvettes Department Store, hissing love... sort of like having a missing
on a tree limb, she occasionally to him between clenched teeth limb. I suspect I had enough love
observed something I was doing “I told you to buy an UPRIGHT for the both of us, and that would
and yelled “Stop!” at which point I HOOVER.” Another time she chased just have to suffice. I do think
promptly stopped whatever I was him around the apartment throwing she understood me and knew I
doing. bottles of liquor at him as he understood her, and in the end, as
ducked and cowered, leaving booze she died in a hospital in my arms, I
The thing I loved and admired about stains on our walls and floor as a think that was more than enough.
her was that she was the only thing perpetual reminder. I must admit,

Fading Away, 2012
30 x 30”
Digital Ultrachrome on Archival Paper
Edition of 20

Arabesque, 2010
30 x 40”
Digital Ultrachrome on Archival Paper
Edition of 20

We are at our most vulnerable when work. In the Grande Odalisque, decidedly female. An exotic feeling
we are truly naked, and in this piece Ingres seemed to express a kind of not being either male nor female
I wanted to feel the coldness of of abstraction of form that he was that a twelve year old boy saw in
exposure and how that feeling can criticized for and I suspect he his/her/its reflection in a mirror as a
be almost foreign to those that hide couldn’t help giving the serpentine fragile and fragmented personality
all the time. Going to therapy for look to the figure he painted. It’s this was coming slowly apart or being
many years can be a process of cold aspect to the Grande Odalisque that slowly pieced together. I created
exposure, and although it can free I love because I think Ingres was two worlds in which I exist; he exists
us it’s not always a pleasant feeling trying so hard to control his work, in this world, the one everyone
and in many ways it can feel like but in this piece the work became is convinced is real; and she, the
being naked in the coldness of an what it wanted to be rather than reflection of him, lives in that world
examination room. In this work I also what the rational artist intended.... that I have spent a lifetime making.
played with a piece by Ingres called and that’s something I relate to Both worlds are real to me, and the
Grande Odalisque, a piece I have very much. Like much of my work, fluid energy of one seemingly makes
always loved even though I am not I see Arabesque as a form of a self the harsh reality of the other.
that fond of the classical technical portrait; a mystery of an angelic
nature and rigidity of much of his hermaphrodite that is male but also

Kat in Laundromat, 2017
16 x 20”
Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

As a child I can remember waking in
the middle of the night and having
to go down to the laundry room in
the old apartment building where
we lived to check on my mother.
She worked late hours and would
come home at two in the morning
and decide that was a good time to
do laundry. Often I would find her
fast asleep sitting in a chair with a
burnt out cigarette in her hand. A
long fragile construction of ashes
that would crumble to the floor the
moment I woke her as I lifted the
cigarette from her fingers and she
would look at me for a moment
before falling right back to sleep the
way the eternally exhausted are apt
to do. She, like me, was a night

person and during those times we
met at night, we didn’t talk as we
left each other to our own devices
in an unspoken agreement that the
other was not really there. I would sit
with her a while listening to the hum
of a single washing machine until
it stopped, and we would quietly
gather up the wet laundry and put
them all in the dryer.

Often on my night walks I would
dress all in black and prowl the
laundry rooms, lockers rooms,
stairwells and garage in a kind of
nocturnal hunt like a tiny ninja. The
denizens of that old building were
like a subconscious realm where
rats and insects lived and came
out in the darkness. I once found a
stray cat that had kittens in an old
dark alcove of the lowest level of the
garage. Once again there was an
unspoken agreement that nocturnal
creatures share a common purpose
and a common mind. I brought
her what table scraps I could find
and one day she and her kittens
were gone ....but she is still hiding
somewhere in the depths of my
subconscious as I sometimes feel
her brush past by my leg. Forgotten
memories are like those old rooms
at night in the lower levels of the
past and that is a place I visit when I
make my work.

Launderette, 2017
34 x 38”

Digital Ultrachrome on Archival Paper
Edition of 20



Keepsake, 2016
20 x 16”
Digital Ultrachrome on Archival Paper
Edition of 50

Fallen Study, 2013
15 x 15”
Digital Ultrachrome on Archival Paper
Edition of 20

Planting, 2017
6 x 6”

Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Inclination, 2017
6 x 6”

Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Kat Study, 2017
6 x 6”

Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind

Kaffe Study, 2017
6 x 6”

Ultrachrome and Acrylic Medium on Wood Panel
One of a Kind



Born 1958, London England
Current Residence, Toronto Canada

BIO
1977 to 1980 The Ontario College of Art
1980 to 1996 The Hospital for Sick Children, Department of Visual
Education, Medical Artist
1998 to 2001 GVFX Toronto, Senior Animator

EXHIBITIONS
2004 Now we are Six, Roq La Rue in Seattle ( group )

Age of Aquarius, Copro Nason in Los Angeles ( group )
Ray Caesar and Amy Hill, two person show at Roq La Rue in Seattle
Benefit for the Memphis six, Phoenix Arizona ( group benefit )
Misdirection 2004, Lineage Gallery in Burlington Vermont ( group )
Ghost Town, Tinmanalley in Philadelphia ( group )
Parallel Universe, Art Basel Florida ( group )

2005 Pulp, Lonsdale Gallery in Toronto ( group)
Secret Doors and Hidden Rooms, Jonathan Levine Gallery in New York ( solo )
Upon Further Review, Rogue Buddha Gallery Minneapolis ( group )
Idols of Perversity, Bellwether Gallery New York ( group )
London Art Fair, Richard Goodall Gallery, London England
Katalogue Book Opening at The Trafalgar Hotel London England ( group )
The World of Ray Caesar Kochbos Gallery Amsterdam Holland ( solo )


2006 Sweet Victory Jonathan Levine Gallery New York ( solo show )
Katalogue Book Opening at The Gibson Jessop Gallery Toronto ( group )
Nostalgia , Magda Danyz Gallery, Paris (group )
Oxop Juxtapoz show, Minneapolis ( group )
Friendly Fire, Berman Turner Projects, Santa Monica ( group )

2007 “We’ll Make a Lover of You” At The ArtCenter, South Florida ( group )
Ipso Facto Richard Goodall Gallery Manchester England ( solo )
Rome Is Burning / The New School. Foster Gallery. University of Wisconsin.
Eau Claire, WI

2008 In The Garden of Moonlight. Jonathan LeVine Gallery. New York, NY
In The Land of Retinal Delights: The Juxtapoz Factor. Laguna Art Museum. Laguna, CA
The Tales We Tell Exhibition Lonsdale Gallery. Toronto, Ontario, Canada. (group)

2009 Galerie Magda Danysz. Paris, France
Richard Goodall Gallery. Manchester UK
Mondo Bizzaro Gallery. Rome, Italy ( solo)

2010 Richard Goodall Gallery (group)
The Affordable Art Fair, Brussels w/Richard Goodall Gallery (fair)
NewcastleGateshead Art Fair, Newcastle, England (fair)
Scope Miami w/Corey Helford Gallery (fair)
Phantasmagoria, Meta Gallery Toronto, Canada (group)
Art Blossoms, Witzenhausen Gallery (fair)
Art Amsterdam, Amsterdam RAI Convention Center w/ Witzenhausen Gallery (fair)
At the Edge, Portsmouth Museum of Art, New Hampshire (group)

Art from the New World, Bristol Museum, Bristol England (group)
Scope New York, Witzenhausen Gallery (fair)
Five Year Anniversary, Jonathan LeVine Gallery, NYC (group)
Affordable Art Fair, London England (fair)
Sogni di Cristallo, Mondo Bizzarro Gallery, Rome Italy (solo)
Nov 30-Dec 5, 2010 Corey Helford Gallery Scope Miami (fair)

2011 Corey Helford Gallery, “In the Nursery”, LA California (group)
Jonathon Levine Gallery, Solo Show New York, NY (solo)
Frans Vanhove Gallery at Affordable Art Fair Brussels, Belgium
Strychnin Gallery, Red Bull Gallery New York, NY (group)
Dorthy Circus Gallery, Rome Italy (group)
Lyon Bennielle w/Spacejunk TV Lyon, France (fair-solo booth)
Corey Helford Gallery, LA California (solo)
Dorthy Circus Gallery, Rome Italy(group)
Corey Helford Gallery Summer Group Exhibit, LA (group)
Vered Gallery Art on the Edge with MOMA, Guggenheim and the Met Trustees (group)
Vered Gallery Auction with the Hearst Family (group)
Lyon Biennale (Biennale)
Florida Museum (group)
Richard Goodall Gallery - Affordable Art Fair England (fair)
Kochxbos Affordable Art Fair Amsterdam (fair)
Neubacher Schor Contemporary Exhibit, Toronto Canada (group)
Corey Helford Gallery Scope Miami (fair)

2012 Stephen Webster Private Show, LA (solo 2011-2012)
January Group Show Musee de la Halle St Pierre, Paris France (group)
Group Show Musee de la Halle St Pierre, Paris France (group)
March 6-11, 2012 Scope New York, New York USA (fair)
March 10, 2012 Kochxbos Gallery, Amsterdam The Netherlands (group)
March – June 2012 Galerie du Jour, Paris France - TBD other locations traveling exhibit (group)
April 28– June 2012 Solo Show - Richard Goodall Gallery, Manchester England Solo Show (solo)
May, 2012 - Group Show Nyctalopes Exhibition, Paris France (group)
May 26-June 25, 2012 - Vered Gallery Group Exhibit, East Hampton New York USA (group) in Conjunction with Vered Auction
w/Board of Trustee of MOMA
June 9, 2012 – Corey Helford Gallery Group Exhibit- “Motion: The Next Movement in Art”, Culver City LA (group)
June – September 2012 - Group Show - Spacejunk Center, France (group)
September 13-29, 2012 – Group Show – Palazzo Pisana with Dorthy Circus Gallery, Italy (group)
October 24 -28, 2012 Affordable Art Fair Battersea London with Richard Goodall Gallery, Manchester UK (fair)
October 26-29, 2012 Toronto International Art Fair, Toronto Canada (fair)
November 1-4, 2012 Affordable Art Fair Hampstead London with Richard Goodall Gallery, Manchester UK (fair)
November 29 2012 – Annual Exhibition – Gallery House w/ Gottfried Helnwein & Anita Kunz (group)
December 15, 2012 Kochxbos Gallery, Amsterdam The Netherlands (solo)
December 2012 “Crucifixion” Corey Helford Gallery, Culver City LA (group)
December 4-9, 2012 Scope Miami, Miami Florida USA (fair)

2013 Feb - Special Project with Spacejunk in Germany
Feb - RAW Art Fair Rotterdam with KochxBos Gallery (fair)
March - Affordable Art Fair with Richard Goodall Gallery Battersea, London (fair)
March 21- April 7 - The Pop Surrealism Show, Opera Gallery New York (group)
April 4-7 - Affordable Art Fair with Richard Goodall Gallery New York US (fair)

Marseille, France - Celebration of European Cultural Capital for 2013 (group) Vichy, France - Celebrating pop

surrealism exhibition (Spacejunk Gallery)(group)



2014 Two Header Show, Dorthy Circus Gallery, Rome Italy (double solo)

CIRCA Gallery, Culver City LA, US (solo)

Affordable Art Fair New York with Richard Goodall Gallery, US (fair)

Kunstai Art Fair with Kochxbos Gallery, Netherland (fair)

Affordable Art Fair at Hampstead, London UK (fair)

Art on the Edge, Vered Gallery Hamptons New York, US (group)

Hamptons Art Market, Vered Gallery Hamptons New York, US (fair)

Texas Art Market, Damien Roman Gallery Hamptons New York, US (fair)

AFA Gallery, New York US & Las Vegas (group)

Miami Art Fair, US (fair)

Evergrande – Gallery House, Toronto Canada (group)

Toronto International Art Fair, Toronto Canada (fair)

2015 January - Art Stage Singapore with Gallery House (fair)
Ongoing permanent exhibition at all AFA Gallery – New York, Las Vegas, New Orleans and France location.
May - Belgium Castle with Kochxbos Gallery (group) with Erwin Olaf or Wim Delvoye, Jaime Hayon, Philippe-Starck, Jean Paul
Gaultier, Yamamoto.
June – Affordable Art Fair in Hampstead, London England with Richard Goodall Gallery (fair)
July - Hamptons Art Market – Damien Roman Fine Art(fair)
November – Pretty Little Dwellers Gallery House Solo Show, Toronto Canada (solo)
December – Pandora’s Box with AFA Gallery New York (group)
December – Kochxbos Gallery, Amsterdam Netherland (group)

2016 Kochxbos Gallery, Amsterdam Netherlands (Solo)
Summer – Solo Exhibition, Gallery House (Solo)
Aug – Corey Helford Gallery – 10th Year Anniversary (Group)
July – James Freeman Gallery London, UK (Group)
May – Virginia Museum of Contemporary Art (Museum Tour for 2yrs)

2017 January – “Tainted”, Gallery House, Toronto, Canada (Solo)



UPCOMING EXHIBITIONS

2017 Damien Roman Fine Art Hamptons, USA (Group)
Dorothy Circus Gallery in London, UK (Group)
Beinart Gallery, Australia (Group)

2018 Dorothy Circus Gallery, Rome Italy (Solo)



Gallery House specializes in broadening the audiences of our artists and we develop relationships with
dealers around the world. We ensure the dealers receive and rotate inventory; shelter works at certain
times; drive traffic and new clients to them. We provide collectors assurance the price is standardized,
transparent and can provide them alongside our partnered dealers detailed information about each of the
artists works. Further we exhibit and build collections on important works by some of the most in demand
contemporary artist today as well as new contemporaries. Founded in 2008, our artists have a history of
breaking public attendance record at museums and at galleries.

Annually we curate exhibitions on site by facilitating discussion among artists, writers, curators, museums
and private collections showcasing our artist or an invited artist. Gallery House artists assumes an
ambitious presence at the following art fairs: Art Stage Singapore, Art Toronto, Hamptons Art Market, AAF
Battersea, AAF Hampstead, AAF Amsterdam, Art Amsterdam, Scope Miami, Art Fair Tokyo, AAF New York,
London Art Fair and Art Miami.

History

Gallery House has garnered attention from some of the top institutions including the Museum of Modern
Art, New York; Bristol Arts Museum United Kingdom and numerous partnered galleries in over 9 countries
and growing.

Since 2000 the founder, Belinda Chun has been professionally involved in the Fine Arts industry, working
for commercial galleries and institutions: Christopher Cutts Gallery, Lonsdale Gallery, Art Gallery of Ontario,
Royal Ontario Museum, McMichael Gallery, and The Power Plant.