40 Under Forty - by Flavio Belli

I had the honor of assisting Flavio Belli with the execution of this exhibition at the Joseph D. Carrier Gallery. With 40 years now under the Columbus Centreโ€™s belt, Belli curated this mass group exhibit that consists of 40 artists under the age of forty, hosting a grand total of 115 art pieces. Join me as I briefly highlight some of my favourite works.

Angela Snieder

๐˜š๐˜ถ๐˜จ๐˜ข๐˜ณ ๐˜”๐˜ข๐˜ฑ๐˜ญ๐˜ฆ ๐Ÿท-๐Ÿธ / ๐˜ˆ๐˜ฏ๐˜ฆ๐˜ฎ๐˜ฐ๐˜ฏ๐˜ฆ ๐Ÿท-๐Ÿน

Etching on paper

12" x 12" (frame)

$125 each

As a print maker and gardener myself, I am absolutely enthralled by the entangled roots of these etchings. Snieder has achieved such a beautiful tonal range of blacks in this series of etchings, something I truly struggled with when trying to etch work myself. The framing of her work accentuates the prints immensely.ย ย 

Alice Gong


Acrylic on Wood

4" x 4"


The intimate sizes of these paintings draws viewers in close, especially since Gong has managed to achieve such immense details on these tiny blocks. Her work naturally reminds me of Andrea Monzon, another favorite artist of mine, with just as effortlessly seeming results.

Lana Filippone

๐˜Š๐˜ช๐˜ณ๐˜ค๐˜ญ๐˜ฆ ๐˜ฐ๐˜ง ๐˜—๐˜ฐ๐˜ช๐˜ด๐˜ฐ๐˜ฏ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ฉ๐˜ฆ ๐˜‰๐˜ถ๐˜ง๐˜ฐ๐˜ฏ๐˜ช๐˜ต๐˜ฆ ๐˜š๐˜ต๐˜ฐ๐˜ฏ๐˜ฆ

Porcelain sculpture, glazes, 24K gold lustre, indigo velvet, gold leaf, domed frame

20" x 12"


Filippone has three works in this exhibit, but this one specifically drew me in. Filipponeโ€™s attention to detail and use of contrast between the gold and plaster is apparent throughout her work, but the tranquil interaction between flora and fauna in this dome allured me. As the title suggests there is poison present, however as everything is casted in time, I canโ€™t help but feel safe.

Steven Restagno

๐˜‰๐˜ญ๐˜ช๐˜ฏ๐˜ฅ๐˜ง๐˜ฐ๐˜ญ๐˜ฅ ๐˜๐˜ (๐˜’)

Oil on Canvas

36" x 36"


Between the scale of the painting and the immense level of realism, Restagnoโ€™s paintings are beyond worth checking out. Personally, I am not drawn towards high levels of realism, but with the floating bust of Restagnoโ€™s self-portrait, draped with a pair of briefs, I couldnโ€™t help but be intrigued by the work. I can also appreciate the harmony of the red in Restagnoโ€™s collar below the briefs on his head.

Peter Chan

๐˜ˆ๐˜ฑ๐˜ฐ๐˜ญ๐˜ญ๐˜ฐ ๐Ÿท๐Ÿท

Oil on Linen

20" x 20"

$3,300 (Courtesy of Mark Christopher Gallery)

The softness of Chanโ€™s paintings has always been alluring, but again I didnโ€™t select this piece because of its well-crafted realism. What drew me to this piece over Chanโ€™s other exhibited works was the story-telling element of this painting. We see a man who is in the middle of a meal, wearing an Apollo 11 t-shirt. As we look down, we can see in the reflection of his bowl the Apollo 11 moon landing that is presumably playing on the television, something he was anticipating. The snapshot of this moment of awestruck or petrification is executed perfectly.

Katherine Curci

๐˜”๐˜ช๐˜ต๐˜ค๐˜ฉ๐˜ฆ๐˜ญ๐˜ญ ๐˜“๐˜ข๐˜ฌ๐˜ฆ ๐˜ข๐˜ต ๐˜‹๐˜ถ๐˜ด๐˜ฌ

Charcoal and conte on paper

23" x 30"


When unpacking Curciโ€™s exhibited works, I remember staring at them and feeling some discomfort as I couldnโ€™t tell what medium was used. At first glance I assumed water colour, and then from a distant I thought perhaps it was a photograph, but then lo and behold I discovered the work was in fact charcoal. This watery, soft impression of the charcoal really caught me by surprise, but this piece in particular was a favourite. Framing is so crucial to how artists present their work, and the rawness of this drawings torn edges, which are so elegantly framed, sold me on this piece.

Hannah Fayad

๐˜™๐˜ฐ๐˜ด๐˜ฆ ๐˜๐˜ณ๐˜ข๐˜จ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต, ๐˜‘๐˜ข๐˜ฅ๐˜ฆ ๐˜๐˜ณ๐˜ข๐˜จ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต, and ๐˜Š๐˜ฆ๐˜ญ๐˜ข๐˜ฅ๐˜ฐ๐˜ฏ ๐˜๐˜ณ๐˜ข๐˜จ๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต

Blown Glass, Sandblasted

6" diameter, 5" diameter, 6.5"w x 4.4"h

$500, $500, $650

These beautifully handcrafted glass spheres brought out a sci-fi element to the show that I cannot say was the intention of Fayad. These molecular forming shapes appear to be caught in the middle stages of metamorphosis, reminiscent of an alien species or particle growing. As they sit in the gallery space, they add a new dimension of work as one of the few sculptural elements.

Megan Ellen MacDonald


Oil on Canvas

24" x 30"


Macdonaldโ€™s work has this blend of style, one that tip toes between the realm of animation and realism. The gloss of the porcelain is so close to the watermelon that I am led to believe that this isnโ€™t meant to be a real picnic, but perhaps one planned by a child for their stuff animals. There is a sense of youthfulness and innocence to Macdonaldโ€™s work and it contributes to making their work stand out.

Jaymie Lathem

๐˜œ๐˜ฏ๐˜ต๐˜ช๐˜ต๐˜ญ๐˜ฆ๐˜ฅ (๐˜Ž๐˜ช๐˜ณ๐˜ญ ๐˜ช๐˜ฏ ๐˜š๐˜ต๐˜ณ๐˜ช๐˜ฑ๐˜ฆ๐˜ด)

Graphite and charcoal on Dura-lar

NFS - On loan from a private collection

Contrasting to Macdonalds work, the disparity of Lathemโ€™s was another that I thoroughly enjoyed. There are a few elements that bring my immediate reaction to this idea of disparity: It could be because of Joss Monzonโ€™s work that I feel a familiarity to it, or the title instantly bringing me to The Boy in the Striped Pajamas (2008). Before all others, itโ€™s the look of the burnt hands and twisting of the limbs that places in me this specific sentiment. Additionally, the scale of the work is larger than life which really illustrated the craft of Lathem using Graphite and charcoal on durlar, contributing to this feeling of โ€˜fadingโ€™ to the piece, as the girlโ€™s right foot is dissolving into the background.

There are many other works that I truly enjoyed in this exhibition that are not shown here, so please be sure to head over to the Joseph D. Carrier Gallery in the Columbus Centre to get a full viewing up until November 21st. Belli will also be providing gallery tours ever Saturday between 11am-4pm.

Details on hours and the gallery itself can be found here:

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ยฉ 2021 by Ignazio Colt Nicastro

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