Prepare to feel large. The small painted wood door at Susan Hobbs gives way to the smallest white-box gallery space east of Zsa Zsa. A bell warns the gallery assistant of your presence; her footsteps can be heard overhead as you stare at Robin Collyer's undersized jungle gym.It's not a jungle gym really, but it looks like one. Made from post-consumer materials -- stuff that's been bought, used, disposed of, mashed up, stewed, formed and hardened -- it consists of a rectangular frame structure upon which a series of beams rest.
The kid in you wants to swing on it.
Don't. But do break the unwritten art world rule and touch the piece. The fibrous texture of the mash of materials speaks to its varied past. It's been formed into a very solid material and makes you wonder why we don't incorporate more of this environmentally sound stuff in our structures.
Upstairs is a ballot box wrapped in a Calvin Klein "Truth" advertisement -- a forgettable one-liner.
There's also a polystyrene statue of a woman stealing jeans. The bright white work looks like a short mannequin with a suspicious bulge at its midsection.
A series of photos taken from the aboveground S-Bahn metro train in Berlin shows a number of buildings exhibiting the typical traits of modern northern European architecture: orderliness and squareness. The pictures' blurriness, from the motion of the train, adds a dynamic twist to the usually staid genre of architectural photography.
Speaking of dynamic, Collyer's photo of the Canadian Charter of Rights and Freedoms, featuring a drab bureaucratic room nearly free of colour save for some token Canadiana paraphernalia, is anything but. Yet it is oddly intriguing.
Robin Collyer at Susan Hobbs (137 Tecumseth) to July 13. 416-504-3699. Rating: NNNN