Miles Gertler, 2015. 7 Lighthouse, 2015. Courtesy Corkin Gallery

Miles Gertler, 2015. 7 Lighthouse, 2015. Courtesy Corkin Gallery

I have a particular fondness for work resulting from the cross-pollination between art and architecture, and the current Miles Gertler exhibition at Toronto's Corkin Gallery fits the bill.

Gertler brings a fluency with materials, textures, form and function to bear on some of the critical questions of our time, while creating works of stark beauty. In each piece there's a monolithic or sculptural human stamp on the landscape, which is yet somehow excavated from the landscape, and hinting at a meta-forces working beyond casual comprehension.

Three works by Miles Gertler. Courtesy Corkin Gallery

His works seem to ask: are we building it up, or tearing it apart?

Gertler is working with original and found imagery and digital processes to create these limited-edition prints. In the project space, he has constructed an elemental architectural structure called the Supralith. It's punctuated by small groupings of half-oval fiberglass moulds which suggest our "relationality" to one another within the built environment: proximal, yet isolated.

His works seem leached of all colour, which lends the dramatic landscapes a sense of desolation. Deserts feature prominently. This lack of colour is particularly pronounced in a work named "Scenario City, No. 2." I won't spoil this work for you as it rewards your contemplation, but suffice it to say it contains elements which usually scream colour, yet colour is conspicuously absent.

I look forward to spending more time with Gertler's work in the future, but we might have to wait a while. Between the positive press from this first solo show, his pursuit of an architectural degree in the US, his work on his first built architectural project, and running a studio residency here in Toronto, he's going to be one very busy artist.

See more of Miles Gertler at the Corkin Gallery in Toronto's Distillery DIstrict, on until March 20, 2016.

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