One Cent Portrait- 1967

James Lahey is a Canadian artist living in Toronto, ON where he maintains his studio. He completed his BFA at York University in 1984 with studies in Art and Architecture in Italy (1982) through a joint programme with York University, Toronto and Lowell University, Massachusetts. In 1986 he obtained a certificate from the O.M.A. in the preservation of Art and Artifacts. Upon graduation, Lahey negotiated career and vocation, including positions at The Art Gallery at Harbourfront, The Power Plant, The Art Gallery of Ontario and Bruce Mau Design all located in Ontario, Canada. Since 1998, Lahey has concentrated exclusively on his painting and side projects in photography and collaborative outdoor installation projects.

In 2001, Lahey was elected to the Royal Canadian Academy and was a Member of the Board of Directors at the Power Plant Contemporary Art Gallery in Toronto 2009 through to 2012, and a past Member of the Board of Directors for Dancemakers. Currently, James is a Member of the Acquisitions Committee for the Photography Drawings Department of the Art Gallery of Ontario, a past member of the Acquisitions Committee for Prints and Drawings at The Art Gallery of Ontario, and a current member of the Advisory Board of PEN Canada.

James Lahey is represented in galleries across Canada, in Britain and the United States where his work can be found in numerous private and public collections. In 2005, the MacLaren Museum installed his “Index” exhibition Mark Kingwell. In 2007, “Index” was installed at The University of Toronto Art Centre. In 2008 James opened one person shows in New York and London where “your imperfect history” was published in conjunction with the exhibition by Flowers U.K. His project, “Guido’s Rhombus” opened at Museum London in the fall of 2009. A catalogue co-written by Ihor Holubizky, Curator of Contemporary Art at Museum London and Dennis Reid, Chief Curator at the Art Gallery of Ontario accompanied the exhibition. In 2011, “Eight Days” opened at the Nicholas Metivier Gallery, Toronto ON. A publication produced in collaboration with Toronto writer and poet Lynn Crosbie accompanied that exhibition. James’ most recent exhibition “Photographs” took place in spring 2013 with a foreword to the exhibition provided by photography artist, Ed Burtynsky.

In 2015, Lahey’s large-scale public project, “Spring”, a collaboration with Concord Adex, was completed. The project’s initial parameters included selected glazing on the tower, the exterior of the roof top mechanical room and a pedestrian walkway, which required the installation of windscreens. The glazing installations start at ground level and continue through to the 36th floor — on the North and South sides of the building in a glass spine visible from both inside and outside the tower. “The Rooftop” project features a pixilated blossom visible from many miles away — from the 401 Highway and from the air. The pedestrian windscreens are 3 separate obelisks positioned near a central set of stairs that lead into the retail level of the tower. A secondary project was developed for the interior public areas where these same thematic concerns have been extended. There is a chromatic shift in these interior installations; while the exterior images are high chroma, the interior images are situated just next to black and white, with only a memory of colour.and published a catalogue of the same name with contributions by art writer Ihor Holubizky.

Made in Canada, 2017 to present

James Lahey’s painting series “Made in Canada” focuses on three emblems used to represent his memories of growing up in Canada – the Canadian Flag, the Canada Goose and the Canadian penny (coin). Lahey’s paintings are in place of his journal as he uses the emblems as metaphors for his personal reflections. He chooses a portrait style of presenting his version of the flag, allowing the viewer to gaze upward at a monumental rendition blowing in the wind, reminiscent of the heroic stance of the general or king in historical portrait fashion. The Canadian penny is obsolete; what better way to represent the memories of one year in the past. For his Flight Series, the bold color combinations are reminiscent of the 60’s pop genre and the composition is presented as if the viewer is in flight with the bird.

“I remember the arrival of our new flag, or more precisely, I remember the nuns hanging one up in our kindergarten class. I knew it was our new flag because I had heard about it at home and I as enthusiastically determined to make it clear to everyone that morning that I knew what it was. The sisters of Joan of Arc school were not, however, fans of determined enthusiasm. 

I’ve always loved our flag. For me the new flag was part of a collision of memories, part of all the momentum Canada seemed to have n the 1960’s: Expo ‘ 7, the new flag, the centennial flame, the new coins, the centennial dollar bill and Trudeau. All of that and it was a maple leaf- just like my dad’s favorite hockey team. My team too- then because it was dad’s team and still today because that’s what happens to Leaf Fans.

We left Canada in 1969, living abroad for a number of years. It seems to me now that I held onto those memories, to the sense of momentum, and while we lived away this kept anything that was Canadian to my mind, beautiful.

 For years I have maintained a journal — a series of notebooks in which I write to record and retrieve ideas and memories. These notes to myself aren’t accurate or inaccurate, honest or dishonest. They are conversations I’ve never had and conversations I wish I’d had. More often, they are simply conversations with myself. We live with myths all our lives — big ones, little ones. Some we learn. Most we invent for ourselves. They are a way to live with the circumstances of our present. Half-truths, full truths, utter fiction — whatever it takes to get on with getting on. All of it, all of them, are a way to remember or to discover again who we once were.

I suppose my notebooks are the same — a way to find myself amongst all the stories I’ve told myself, the stories I’ve tried to live with and even the stories I’d rather not admit to. My version of events. Perhaps I’ve resorted to pictures of those years as a way to avoid those admissions? Perhaps I’ve settled on pictures in order to have those conversations again, and maybe to fix some of the details once and for all.

Made in Canada is beyond what I have said already, a love letter to my family and friends; A love letter to those who are still here and to those who are here no longer. As a metaphor, I hope this series transcends simple sentimentality and blind patriotism – our flag is older now, as I am, there is the odd loose thread or stretched seam, nevertheless, it flies still. The rest then is beauty, movement, color, presence- all that resists measurement- all the other reasons why I chose to make a picture instead of explaining why.”