Adrian Gor sits in his studio, where he makes oil painting prints and pastel drawings, on Jan. 18, 2025. His latest exhibit ‘Retold Prototypes Without A Story’ challenges ideals of masculinity through art. [Photo by Thuy Anh Nguyen/The Charlatan]
Adrian Gor sits in his studio, where he makes oil painting prints and pastel drawings, on Jan. 18, 2025. His latest exhibit ‘Retold Prototypes Without A Story’ challenges ideals of masculinity through art. [Photo by Thuy Anh Nguyen/The Charlatan]

Adrian Gor’s latest exhibit, Retold Prototypes Without a Story, explores masculinity through pastel drawings and prints of historical and contemporary figures. The project will be on display until Feb. 2 at the Ottawa School of Art (OSA) in the ByWard Market.

Born in Iasi, Romania, and now based in Ottawa, Gor uses classical anatomy, medieval symbolism and contemporary themes to challenge traditional ideals of masculinity. His work deconstructs the human form to examine how cultural values shape male identity in a post-modern world. 

Gor’s exhibit reiterates themes from his earlier show, Retold Prototypes, which was held two years ago in Romania. The new works break away from symbolic narratives, instead focusing on forms evolving neutral spaces. 

“This is the mystery of art-making,” Gor said. “It invites fundamental questions about what it means to be human.” 

Adrian Gor’s exhibit ‘Retold Prototypes Without a Story’ at the Ottawa School of Art in the ByWard Market on Jan. 18, 2025. [Photo by Thuy Anh Nguyen/The Charlatan]
Adrian Gor’s exhibit ‘Retold Prototypes Without a Story’ at the Ottawa School of Art in the ByWard Market on Jan. 18, 2025. [Photo by Thuy Anh Nguyen/The Charlatan]
Gor’s collection showcases new oil paintings, drawings and prints, inviting viewers to question conventional ideals of strength, virility and rationality. The use of vibrant pastel tones emphasizing transformation and fluidity marks a departure from the darker, more restrained works in his previous exhibition, he said.

“This is definitely a new path forward,” Gor said. “It allows for the creation of new meaning, and it invites the audience to reflect on long-standing narratives, but with a different foundation — a more neutral foundation.”

Adrian Gor's ‘The End of Grand Narratives-N.’ The piece is part of his exhibition ‘Retold Prototypes Without a Story’ at the Ottawa School of Art on Jan. 18, 2025. [Photo by Thuy Anh Nguyen/The Charlatan]
Adrian Gor’s ‘The End of Grand Narratives-N.’ The piece is part of his exhibition ‘Retold Prototypes Without a Story’ at the Ottawa School of Art on Jan. 18, 2025. [Photo by Thuy Anh Nguyen/The Charlatan]
A standout piece, The End of Grand Narratives-N, features intertwined figures in motion, their twisted forms evoking struggle and metamorphosis. Floating limbs and hands appear to dissolve and reform, representing the shifting nature of identity. 

Contemporary symbols, such as drones and shopping carts, are integrated into the works, critiquing societal influences on modern masculinity. Gor said drones reflect historical narratives of war and dominance while shopping carts signify consumerism and the search for identity.

“In today’s post-modern world, we need to critically analyze our values visually,” Gor said. “I’m going to push forward to really examine the visual cues that reflect contemporary masculinity and connect them to our history and future.” 

Etchings by Adrian Gor on display at the Ottawa School of Art on Jan. 18, 2025. The intricate designs combine classical anatomy with contemporary symbolism. [Photo by Thuy Anh Nguyen/The Charlatan]
Etchings by Adrian Gor on display at the Ottawa School of Art on Jan. 18, 2025. The intricate designs combine classical anatomy with contemporary symbolism. [Photo by Thuy Anh Nguyen/The Charlatan]
Andrée Noëlle Cooligan, a retired diplomat now studying printmaking and painting at the Ottawa School of Art, said she was captivated by Gor’s work after seeing his etchings at the gallery’s entrance.

“This is a high-quality artist,” Cooligan said. “A combination of printmaking and high textured pieces.”

She said she admired how Gor “demonstrates a high degree of confidence” with his representation of eroticism, explaining that “it’s not just about showing the pelvis area of men” but conveys an erotic quality throughout the entire display. 

Cooligan praised Gor’s expertise in printmaking and colour theory and said the overall display is compelling, with striking images prominently positioned at the centre of the composition.

Gor described his artistic approach as a combination of personal introspection with universal relevance. He said his art is grounded in theory, artistic anatomy, and colour theory, with the aim of balancing concept and craft.

Exhibits are selected based on merit and quality of work, the strength of the concept and the artist’s professionalism, said Cathy Brake, the gallery’s co-ordinator, in an email to the Charlatan.

“We feel our exhibitions are also an important part of serving the larger arts community in Ottawa,” Brake said. “OSA maintains its gallery program primarily to benefit its students.”

Adrian Gor’s artworks critique capitalism and consumerism in the postmodern world, incorporating contemporary symbols such as shopping trolleys to explore societal influences on identity and masculinity. [Photo by Thuy Anh Nguyen/The Charlatan]
Adrian Gor’s artworks critique capitalism and consumerism in the postmodern world, incorporating contemporary symbols such as shopping trolleys to explore societal influences on identity and masculinity. [Photo by Thuy Anh Nguyen/The Charlatan]
David Kearn, a portrait and figure painting instructor at OSA, said he took a break from teaching to check out Gor’s exhibit. He described Gor as “really bonded with his dedication,” with his work evolving into something expressive and impactful.

Kearn said he “totally agrees” that the exhibition could ignite broader conversations about gender and identity beyond its visuals and inspire him to create more works reflecting modern, meaningful themes.

Adrian Gor’s drawing, ‘From the History of Western Narratives: The Making of the Western Soul,’ (left) and his oil painting, ‘The Golden Calf,’ (right) are seen at the Ottawa School of Art on Jan. 18, 2025. The pieces explore themes of cultural identity and the influence of historical and contemporary values. [Photo by Thuy Anh Nguyen/The Charlatan]
Adrian Gor’s drawing, ‘From the History of Western Narratives: The Making of the Western Soul,’ (left) and his oil painting, ‘The Golden Calf,’ (right) are seen at the Ottawa School of Art on Jan. 18, 2025. The pieces explore themes of cultural identity and the influence of historical and contemporary values. [Photo by Thuy Anh Nguyen/The Charlatan]
However, Gor said he wants the exhibit to have a life beyond himself and other artists. He said he believes his work is particularly relevant in today’s society, offering viewers a safe space to reflect on the challenges men face.

“They have to make meaning out of it, to make sense of it,” Gor said. “It has to find a place within the community, not just to serve the artists.”

Retold Prototypes Without a Story is on at the OSA until Feb. 2. Admission is free.

Featured image by Thuy Anh Nguyen/The Charlatan.

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