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    <lastmod>2024-07-30</lastmod>
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      <image:title>Spolia Opima/Afterparty, 2016 - Spolia Opima</image:title>
      <image:caption>As we step into Ted Zourntos’s time capsule of 17th Century Dutch inspired oil works, we embark on a journey through time, to the early emergence of the merchant class. We cannot help but become immersed in the glimmer of these enchanting still lifes, transfixed by the hypnotic allure of razzle-dazzle objects, the crisp crackling of gift wrap, and intense bursts of colour. Blinded by the glean of these synthetic artifices, we stare deeper, soon realizing the unusual quandary the artist has laid in front of us. Behind this glitzy smokeshow lies a haunting, yet comedic interpretation of modern-day decadence, expressed through a series of visual puns that poke fun at Western culture’s obsession with material wealth. In a feat of clever trickery, Ted distracts his audience with glamourized images of kitschy plastics, intuitively arranged. These sculptures symbolize the illusion of luxury that underlies today’s oil-based economy and perpetuates consumer dependency on petrol products. Dangling like free-floating pendulums against a blackened backdrop, these hand-made edifices do just what they intend: cause viewers’ eyes to glaze over as they stand, entranced by this dazzling display of counterfeit riches. Each painting imparts a looming sense of finality, with its black, petroleum backgrounds closing in on the present moment, transplanting viewers into the immediacy of the now. Lindsay Ogus, 2015</image:caption>
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      <image:title>Spolia Opima/Afterparty, 2016 - Spolia Opima</image:title>
      <image:caption>As we step into Ted Zourntos’s time capsule of 17th Century Dutch inspired oil works, we embark on a journey through time, to the early emergence of the merchant class. We cannot help but become immersed in the glimmer of these enchanting still lifes, transfixed by the hypnotic allure of razzle-dazzle objects, the crisp crackling of gift wrap, and intense bursts of colour. Blinded by the glean of these synthetic artifices, we stare deeper, soon realizing the unusual quandary the artist has laid in front of us. Behind this glitzy smokeshow lies a haunting, yet comedic interpretation of modern-day decadence, expressed through a series of visual puns that poke fun at Western culture’s obsession with material wealth. In a feat of clever trickery, Ted distracts his audience with glamourized images of kitschy plastics, intuitively arranged. These sculptures symbolize the illusion of luxury that underlies today’s oil-based economy and perpetuates consumer dependency on petrol products. Dangling like free-floating pendulums against a blackened backdrop, these hand-made edifices do just what they intend: cause viewers’ eyes to glaze over as they stand, entranced by this dazzling display of counterfeit riches. Each painting imparts a looming sense of finality, with its black, petroleum backgrounds closing in on the present moment, transplanting viewers into the immediacy of the now. Lindsay Ogus, 2015</image:caption>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016 - Spolia Opima</image:title>
      <image:caption>As we step into Ted Zourntos’s time capsule of 17th Century Dutch inspired oil works, we embark on a journey through time, to the early emergence of the merchant class. We cannot help but become immersed in the glimmer of these enchanting still lifes, transfixed by the hypnotic allure of razzle-dazzle objects, the crisp crackling of gift wrap, and intense bursts of colour. Blinded by the glean of these synthetic artifices, we stare deeper, soon realizing the unusual quandary the artist has laid in front of us. Behind this glitzy smokeshow lies a haunting, yet comedic interpretation of modern-day decadence, expressed through a series of visual puns that poke fun at Western culture’s obsession with material wealth. In a feat of clever trickery, Ted distracts his audience with glamourized images of kitschy plastics, intuitively arranged. These sculptures symbolize the illusion of luxury that underlies today’s oil-based economy and perpetuates consumer dependency on petrol products. Dangling like free-floating pendulums against a blackened backdrop, these hand-made edifices do just what they intend: cause viewers’ eyes to glaze over as they stand, entranced by this dazzling display of counterfeit riches. Each painting imparts a looming sense of finality, with its black, petroleum backgrounds closing in on the present moment, transplanting viewers into the immediacy of the now. Lindsay Ogus, 2015</image:caption>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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      <image:title>Spolia Opima/Afterparty, 2016</image:title>
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  <url>
    <loc>http://www.tedzourntos.com/landscape-series</loc>
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    <lastmod>2019-03-21</lastmod>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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      <image:title>Landscape series, 2008</image:title>
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  <url>
    <loc>http://www.tedzourntos.com/new-gallery</loc>
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    <priority>1.0</priority>
    <lastmod>2024-07-30</lastmod>
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      <image:title>Home</image:title>
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      <image:title>Home</image:title>
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      <image:title>Home</image:title>
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  <url>
    <loc>http://www.tedzourntos.com/banff-residency</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2024-07-31</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56b8c537b654f97618f0620d/1482859421724-Z0BMY2KM2UGE8LQEUK2X/studioB.jpg</image:loc>
      <image:title>Banff Residency - Still Alive Residency</image:title>
      <image:caption>Banff, Alberta Still Alive Residency, 2016 The photographs produced at the Banff Centre for Arts and Creativity, critique the relationships between the oil economy and consumer culture. Inspired by images of plastic gyre debris floating within the world’s oceans, these photographs of everyday novelty petroleum based products were composed so as to deconstruct the addictive nature of consumerism. The works generated are not images of the objects themselves, rather they are photographs of distorted reflections and in some instances multiple reflections experienced simultaneously. The fictitious spaces depicted within these images serve as an inquiry into the primal nature of consumption by exploring the realm of the metaphysical and its relationship to the real world of objects. Special thank you to the Herb and Ivy Paris Endowment for the financial support in making the residency possible. Canadian Art magazine article</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/56b8c537b654f97618f0620d/1482859421724-Z0BMY2KM2UGE8LQEUK2X/studioB.jpg</image:loc>
      <image:title>Banff Residency - Still Alive Residency</image:title>
      <image:caption>Banff, Alberta Still Alive Residency, 2016 The photographs produced at the Banff Centre for Arts and Creativity, critique the relationships between the oil economy and consumer culture. Inspired by images of plastic gyre debris floating within the world’s oceans, these photographs of everyday novelty petroleum based products were composed so as to deconstruct the addictive nature of consumerism. The works generated are not images of the objects themselves, rather they are photographs of distorted reflections and in some instances multiple reflections experienced simultaneously. The fictitious spaces depicted within these images serve as an inquiry into the primal nature of consumption by exploring the realm of the metaphysical and its relationship to the real world of objects. Special thank you to the Herb and Ivy Paris Endowment for the financial support in making the residency possible. Canadian Art magazine article</image:caption>
    </image:image>
    <image:image>
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      <image:title>Banff Residency - Still Alive Banff Residency</image:title>
      <image:caption>Banff, Alberta Still Alive Residency, 2016 The photographs produced at the Banff Centre for Arts and Creativity, critique the relationships between the oil economy and consumer culture. Inspired by images of plastic gyre debris floating within the world’s oceans, these photographs of everyday novelty petroleum based products were composed so as to deconstruct the addictive nature of consumerism. The works generated are not images of the objects themselves, rather they are photographs of distorted reflections and in some instances multiple reflections experienced simultaneously. The fictitious spaces depicted within these images serve as an inquiry into the primal nature of consumption by exploring the realm of the metaphysical and its relationship to the real world of objects. Special thank you to the Herb and Ivy Paris Endowment for the financial support in making the residency possible.</image:caption>
    </image:image>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency</image:title>
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      <image:title>Banff Residency - Omnia</image:title>
      <image:caption>While participating in a residency at the Banff Centre for Arts and Creativity in 2016 I created a large diorama of plastic artifacts that were used for a photography project. Inspired by simple curiosity, I randomly navigated a cell phone through the diorama and recorded the scenes and sounds of the reflective surfaces and plastic objects.  This experimental short film is a collection of selected scenes integrated with an electronically modified soundtrack.  Premiered at the 11th annual Photophobia festival in 2017 showcasing short-format contemporary media, film, video and moving image (co-organized by Hamilton Arts Inc. and The Art Gallery of Hamilton, Hamilton, ON). Left: Selected stills</image:caption>
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      <image:title>Banff Residency</image:title>
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  <url>
    <loc>http://www.tedzourntos.com/new-gallery-1</loc>
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    <lastmod>2025-09-01</lastmod>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Dark Skies</image:title>
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      <image:title>Grey Point Studio - Grey Point Studio</image:title>
      <image:caption>Grey Point studio is an ongoing  project my partner and I initiated several years ago. We envisioned a space that invites creative production by placing us at the epicentre of our shared subject matter. The site overlooks the Prince Edward County escarpment to the west, situated on the Long Reach portion of the Bay of Quinte in Ontario. It was selected for two specific reasons, the intensity of weather from the prevailing westerly winds and the historic environmental degradation incurred to its waters and the Great Lakes region in general. Grey Point provides an opportunity to witness and document the effects of climate change in real time providing a backdrop and reference point for our creative output. The building draws on the simplicity of Scandinavian design to encapsulate light through seasonal changes.</image:caption>
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      <image:title>Grey Point Studio - Grey Point Studio</image:title>
      <image:caption>Grey Point studio is an ongoing  project my partner and I initiated several years ago. We envisioned a space that invites creative production by placing us at the epicentre of our shared subject matter. The site overlooks the Prince Edward County escarpment to the west, situated on the Long Reach portion of the Bay of Quinte in Ontario. It was selected for two specific reasons, the intensity of weather from the prevailing westerly winds and the historic environmental degradation incurred to its waters and the Great Lakes region in general. Grey Point provides an opportunity to witness and document the effects of climate change in real time providing a backdrop and reference point for our creative output. The building draws on the simplicity of Scandinavian design to encapsulate light through seasonal changes.</image:caption>
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    <lastmod>2023-12-31</lastmod>
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      <image:caption>Rhys Logan</image:caption>
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