Arden & White Gallery is pleased to present A line is a dot that went for a walk, in collaboration with Blouin Division, curated by Erika Del Vecchio. The exhibition brings together new works by Montreal artists Sarah Stevenson and Matthew Feyld.

In the opening gallery space, Sarah Stevenson invites viewers into a delicate dance of color, line, and movement. Her new series Lush Fruit unfolds as a cluster of three suspended installations, Chlorophyll, Tournesol, and Horizon, rendered in green, yellow, and blue. Inspired in part by James Fox’s The World According to Colour, which explores how the meanings of colors are shaped by perception and culture, Stevenson was drawn to the idea that color itself is an invention born of light and vision. These ethereal structures hover, transparent yet vibrantly alive, their primary hues melding depending on the vantage point of the viewer, composing a bouquet of shifting chromatic harmonies. Stevenson’s approach elegantly navigates the threshold between drawing and sculpture, her thread-like constructions evoking three-dimensional sketches that seem to float in air.

Beyond, in the second gallery space, Matthew Feyld extends the dialogue of point and form. On the right wall, a monumental yet light-toned piece unfolds: a 200-inch horizontal painting in pale grey, segmented into five equal parts. Off center, a silver circle floats above, its metallic sheen and singularity marking a first use of this material in the artist’s career. Together, they create a composition in which the wall itself becomes the canvas. Drawn to the study of the dot, a form he gradually expanded into circles and, more recently, into semicircles, Feyld treats the shape not as a closed figure but as a neutral framework through which to examine presence and absence, positive and negative space. Layered with meticulous strokes of acrylic paint, latex, and pigment, his surfaces produce subtle shifts of texture and light that slow the act of looking. What first appears as a simple motif reveals itself as a meditation on dualities that underpin both art history and cultural thought. In these paintings, geometry becomes less a fixed design than a living inquiry into perception, materiality, and meaning.

Paul Klee famously remarked, A line is a dot that went for a walk. With this simple phrase, Klee captured the very essence of drawing and composition, redefining the line as an active gesture rather than a static boundary. His statement became an emblematic lesson of the Bauhaus, where line and form were understood as the building blocks of both art and design, capable of transforming the way we perceive space and movement.In Stevenson’s installations, that journey unfolds as colored filaments drifting into space, fragile yet insistent in their presence. In Feyld’s paintings, the dot lingers, expands, and shifts, tracing the quiet tension between surface and void. Each artist carries Klee’s intuition forward, not by illustrating it, but by allowing the simplest mark to unfold into new dimensions of thought and perception.

A line is a dot that went for a walk offers a meditation on form’s passage through space and surface. Stevenson and Feyld share a minimalist sensibility shaped by proportion, balance, and clarity, privileging an encounter where shape, color, and material converge. In the intimacy of a home, these works reveal a deeper presence, not as static objects but as living elements that subtly reshape how one moves, looks, and dwells within space.

(Text by Erika Del Vecchio)