Art of Alex Fischer

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Alex Fischer
Visual Artist based in Toronto, Canada. Scroll and use the index to view more, follow & for updates or view works available and email for more information.

original art titled A Malinche Double, 2016

A Malinche Double, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled A Malinche Double installed, 2016

A Malinche Double, installed from digital composite

original art titled Dip, 2016

Dip, one of ten 11×14inch prints from digital collage

original art titled Ghost Horse, 2016

Ghost Horse, one of three 15×15inch prints from digital collage

original art titled Ghost Horse framed, 2016

Ghost Horse, framed from digital composite

original art titled Iron Lung, 2016

Iron Lung, unique 90×60inch print from digital composite

original art titled Iron Lung install, 2016

Iron Lung, installed from digital composite

original art titled Look Out Lucinda, 2016

Look Out Lucinda, one of ten 11×14inch prints from digital composite

original art titled Milne's Crossing, 2016

Milne's Crossing, one of three 14×11inch prints from digital composite

original art titled More than 700, 2016

More than 700, unique 90×60inch print and a unique 90×60inch textile from digital composite

original art titled More than 700 installed, 2016

More than 700, installed from digital composite

original art titled

Night Outside, one of three 10×12½inch prints from digital composite

original art titled

Pet, Casper and Hesperie, 54×48inch oil and acrylic on canvas

original art titled Hesperie, 2016

Hesperie, one of three 12×9⅗inch prints from photograph of oil and acrylic on canvas

original art titled Pet, 2016

Pet, one of three 12×9⅗inch prints from photograph of oil and acrylic on canvas

original art titled Pluck from the Brush, 2016

Pluck from the Brush, one of ten 11×14inch prints from digital collage

original art titled Rocinante and Blue Rider, 2016

Rocinante and Blue Rider, one of two 48×60inch prints from digital painting

original art titled Rocinante and Blue Rider (installed), 2016

Rocinante and Blue Rider, installed from digital composite

original art titled Save Cave, 2016

Save Cave, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled Save Cave B&WBlue, 2016

Save Cave B&WBLUE, one of ten 11×14inch prints from black & white photograph of oil paint and projected light

original art titled Season V, 2016

Season V, 48×72inch oil and acrylic on panel

original art titled Super Seed, 2016

Super Seed, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled Super Seed B&WBlue, 2016

Super Seed, B&WBLUE one of ten 11×14inch prints from black & white photograph of oil paint and projected light

original art titled Super Seed and Willow Fire, 2016

Super Seed, & Willow Fire, (each) one of ten 11×14inch prints

Trace • Copy • Render
Alex Fischer, Rita Maas, Susana Reisman, Sharon Switzer
Curated by Claire Sykes for Circuit Gallery @ Prefix ICA, September 1 – 24, 2016

Trace • Copy • Render, Circuit Gallery @ Prefix ICA Trace • Copy • Render, Circuit Gallery @ Prefix ICA Trace • Copy • Render, Circuit Gallery @ Prefix ICA Trace • Copy • Render, Circuit Gallery @ Prefix ICA Trace • Copy • Render, Circuit Gallery @ Prefix ICA Trace • Copy • Render, Circuit Gallery @ Prefix ICA

This exhibition brings together four artists who are thinking about origins, process, materials, and labour as they explore the possibilities and implications of working digitally.

At the heart of Trace • Copy • Render is a shared interest in revealing, hiding, and playing with digital and material processes and manipulations, and the coincidence or disconnect (as the case may be) between final output and the myriad steps involved in the process of its realization.

Alex Fischer is an artist whose practice deliberately blurs and confounds the borders between media, and constitutes digital-image making as an extension of traditional artistic media and concerns. He uses advanced digital imaging techniques to manipulate found source imagery, to layer and build-up complex new compositions that are often hard to pin down as to medium or process, and which maintain a tension between the physical and the virtual, the original and the copy, the index and the trace.

In a fascinating inversion of his work on the computer, Fischer just as easily jumps out from the digital realm—off the virtual canvas—and performs ‘photoshop’ by physically copying, tracing, blending, adding layers and various effects to printed and painted works. Fischer’s series of work in Trace • Copy • Render offers a self-reflexive glimpse into his process of creation and concerns and includes paintings, projections, and prints.

– Claire Sykes, August 2016

original art titled Thistlee Keeper, 2016

Thistlee Keeper, one of three 17×21¼inch prints from digital collage

original art titled Wave V, 2016

Wave V, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled Willow Fire, 2016

Willow Fire, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled With Picabia's Hand, 2016

With Picabia's Hand, one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled With Picabia's Hand (earlier), 2016

With Picabia's Hand, (Earlier) one of ten 11×14inch prints from photograph of oil paint and projected light

original art titled 000000, 2015

000000, one of two 20×25½inch prints from digital composite

original art titled 0c, 2015

0c, one of two 20×25½inch prints from digital composite

1, 7, and 6000
solo exhibition at O'Born Contemporary
February 27 – April 24, 2015

Alex Fischer, VII, 2015 1, 7, and 6000 promotional image bortolami Alex Fischer, VII 6000, 2015– Alex Fischer, 1, 7, and 6000 install at O'Born Contemporary Alex Fischer, 1, 7, and 6000 install at O'Born Contemporary Alex Fischer, 1, 7, and 6000 install at O'Born Contemporary Alex Fischer, VII 6000, 2015– Alex Fischer, VII 6000, 2015– Alex Fischer, VII 6000, 2015– Alex Fischer, VII 6000 Arch, 2015 original art titled VII 6000 Arch, 2015

(1)

On the occasion of Alex Fischer's fourth solo exhibition with O'Born Contemporary, he problematizes the single image by its very conversion into multiple, nearly identical forms. A digital original is here reproduced as 1 digital print, 7 large oil paintings, and 6000 small acrylic paintings. Through this multi-modal exhibition, Fischer deliberates on the nature of art with its value systems and capitalist patrimony.

Current agricultural trends demonstrate that when tomatoes are grown, the aim is to direct natural processes, taking agency over evolution. Like all biological species, the tomato plant contains a genetic copy of itself inside every cell of its being. Repetition and versioning are as much a rule in agriculture as they are in human life. Conversely, uniqueness and independence of mind are selling points when it comes to art. There is an established value in originality.1

(7)

Each of the 7 oil paintings was completed by an equal number of painters working in Xiamen, China. Fischer puts the work of these trained hands in direct visual argument with the mechanically reproduced print: he suggests deliberation about the capitalist mechanism and simultaneously entertains his moral ambiguity within this landscape of unapologetic consumptive socio-culture.

The controversy here may be in the fact that Fischer criticizes the capitalist system by highlighting elements that are uncomfortable to acknowledge while fully engaging with capitalism's ideologies through the kaleidoscope of fine art and its market. He grows the pieces, puts them under optimal lighting, and creates versions at price points to invite the viewer to buy.

(6000)

An arched shelf bolsters 6000 small sheets of thin, transparent plastic. Hundreds have already been painted, revealing that they exist as an assemblage of tiles that, when properly arranged, mimic their parent image. Fischer will paint the remaining sheets on demand as they are requested and will continue this practice alongside his other projects.

Artwork as a commodity is not valuable per se– its value is the result of an ongoing and never ending social negotiation. That being said, the work of art, and painting specifically, is an object that bears a concrete, almost measurable evidence of labour on its surface.2 Paintings are worked over and leave a trace of the individual mark maker. Each edition in 1, 7, and 6000 shows on its surface the inevitable difference made during translation between parent image and end product. Each image is the real thing.

– Alex Fischer, February 2015

1. This idea is commensurate with remarks issued by Ben Davis: It is the uniquely middle-class nature of creative labor in the visual arts [that] would seem to explain its alternative emphasis on the individual, that is, on the virtues of personality and small production, as well as a whole host of other stylistic tics and affectations(...) visual art's characteristic questioning or ironic attitude; the value of the artist's signature and the "artist's statement" that are associated with it. Davis, Ben. 9.5 Theses on Art and Class - Commerce and Consciousness. Chicago:Haymarket Books, 2013. PDF file.

2. Graw, Isabelle. Thinking through Painting - Reflexivity and Agency beyond the Canvas. Sternberg Press, 2012. Page 56.

Alex Fischer, VII 6000 (hangar mockup), 2015 Alex Fischer, 1, 7, and 6000 promo image window, 2015 VII Arch edit Alex Fischer, 1, 7, and 6000 promo image kordansky, 2015 1, 7, and 6000 promotional image
original art titled 1b, 2015

1b, one of two 20×25½inch prints from digital composite

original art titled 1b installed, 2015

1b, installed from digital composite

original art titled 3, 2015

3, one of two 20×25½inch prints from digital composite

original art titled Blue Lemon, 2015

Blue Lemon, one of two 20×25½inch prints from digital composite

original art titled Blue Lemon installed, 2015

Blue Lemon, installed from digital composite

original art titled Bowl, 2015

Bowl, one of two 20×25½inch prints from digital composite

original art titled Brown Lemon, 2015

Brown Lemon, one of two 20×25½inch prints from digital composite

original art titled HA, 2015

HA, one of two 21×14inch prints from digital composite

original art titled My My Mind Vs Brain, 2015

My My Mind Vs Brain, one of two 16×20inch prints from digital composite

original art titled Official, 2015

Official, a unique 40×60inch print from digital composite and a 60×90inch print from digital composite

original art titled Official installed, 2015

Official, install from digital composite

original art titled Real Safe Myth, 2015

Real Safe Myth, one of two 9×10inch prints from digital composite

original art titled Red Lemon, 2015

Red Lemon, one of two 24×30inch prints from digital composite

original art titled Red Lemon framed, 2015

Red Lemon, framed from digital composite

original art titled Untitled22, 2015

Untitled22, one of two 24×30inch prints from digital composite

original art titled VII, 2015

VII, 48×60inch print from digital painting

original art titled

VII Feng Shui Gui
VII Ye An
VII Lin Jian
VII Jiang Ming
VII Chen Shan
VII Chen Wen Bo
VII Chen Qiu Lin

7 oil reproductions by an equal number of painters (7×) 48×60inch series

original art titled VII 6000 Arch, 2015 original art titled VII 6000 Arch, 2015 original art titled VII 6000 Arch, 2015

VII 6000 Arch, an 82×48×40inch acrylic and aluminium arch bolstering 240 4×6inch acrylic paintings on Dura-lar
VII 6000 Arch is a sculptural display frame for 240 editions of a VII 6000.

original art titled Was A Fish, 2015

Was A Fish, 16×20inch print from digital collage

original art titled Was A Fish, 2015

Was A Fish, install from digital composite

original art titled Angler, 2014

Angler, one of two 20×25½inch prints from digital composite

original art titled Aviary, 2014

Aviary, one of five 27×30inch prints from digital composite

original art titled Garden Spell, 2014

Garden Spell, one of five 17×17inch prints from digital composite

original art titled George's Cuttlefish, 2014

George's Cuttlefish, from digital composite

original art titled Inside the Faberge Egg, 2014

Inside the Faberge Egg, one of two 20×25inch prints from digital composite

original art titled M, 2014

M, one of two 16×20inch prints from digital composite

original art titled Moore, 2014

Moore, a 60×75inch print and a 30×37½inch print from digital composite

original art titled Moore, 2014 original art titled Moore, 2014

Moore, installed from digital composite

original art titled On Cotton, 2014

On Cotton, a 12×15inch print from digital composite

original art titled Parlor, 2014

Parlor, one of two 24×30inch prints from digital composite

original art titled Planet Print, 2014

Planet Print, one of two 17×17inch prints from digital composite

original art titled Supersymmetry II, 2014

Supersymmetry II, a 96×96inch digital composite

original art titled Supersymmetry II, 2014

Supersymmetry II, a 96×96inch screenprint on sintra from digital composite

original art titled Supersymmetry II, 2014

Supersymmetry II, a 96×96inch screenprint on plexi from digital composite

original art titled Wish You Were Here, 2014

Wish You Were Here, one of three 16×20inch prints from digital composite

original art titled Wizard Eyes, 2014

Wizard Eyes, one of three 10×12½inch prints from digital composite

original art titled A General Impression, 2013

A General Impression, 8½×11inch exhibition AP from digital painting

original art titled Ammonite, 2013

Ammonite, unique 27×15×40inch mixed media sculpture. Driftwood, Clay, Silicone, Cotton, Paint, Glass, Plastic, Foam, Acrylic, Steel

original art titled Brush Work, 2013

Brush Work, one of two 16×20inch prints from digital painting

original art titled Disc, 2013

Disc, 48×96inch exhibition AP from digital painting

original art titled Disc, 2013

Disc, installed from digital composite

Dry Pixels and Wet Molecules
solo exhibition at O'Born Contemporary
October 18 — November 16, 2013

original art titled original art titled original art titled original art titled original art titled original art titled

In Dry Pixels and Wet Molecules Alex Fischer counter-poses the primordial origins of biology against today's dominant technology-based vernacular. In earnest, the artist acknowledges through his practice elements peculiar to the time of his being. Put in alternative terms, Fischer concedes that the acts of being and becoming are wholly different now than at any time in our recent or distant past.

Dry Pixels and Wet Molecules poses a valuable and contemporary question using sensory terms--can the digital reconcile with the physical? The works of art comprising this materially varied exhibition reveal themselves as both answers to and instigators of this question. Through digital manipulations, sculpture, and installation, Fischer convinces his audience that technology is not simply an imbricate to the physical and the palpable but rather supersedes both.

The multi-modal moment in which art-making has found itself produces what could be called moist media, a curious but worthwhile corollary to the McLuhan's cold media of days past. Absorbing this idea, Fischer wedges himself between the dry, cold of the pixel and the wetness of biomolecules. Ultimately suggesting that we are living in a post-digital world, the artist exposes a tactility and precision with his imagery that in effect surpasses the daily surroundings we perceive with our own eyes and bodies.

original art titled Feather Feeder, 2013

Feather Feeder, 42×36⅖inch exhibition AP from digital composite

original art titled Flesh Fruit, 2013

Flesh Fruit, 8×10½inch printed edition from digital painting

original art titled Follow, 2013

Follow, 1920×1920pixel digital painting

original art titled Is Water, 2013

Is Water, 40¾×24¼inch exhibition AP from digital composite

original art titled Jelly Portrait, 2013

Jelly Portrait, 25⅝×27inch exhibition AP from digital composite

original art titled Jelly Portrait installed, 2013

Jelly Portrait, installed from digital composite

original art titled Lichen, 2013

Lichen, installed photo of 35×35×75inch mixed media sculpture. Foam, plaster, printed fabric.

original art titled Lichen, 2013

Lichen, detail photo of mixed media sculpture

original art titled Loop (Santiago), 2013

Loop (Santiago), 34×43inch exhibition AP from digital painting

original art titled Markered Market, 2013

Markered Market, one of three 28½×18inch printed edition from digital painting

original art titled Mouth, 2013

Mouth, 144×96inch digital painting

original art titled Mouth, 2013

Mouth, installed 144×96inch exhibition dye sub on textile.

original art titled Mouth detail, 2013

Mouth, detail from digital painting

original art titled Nervous System Preserver, 2013

Nervous System Preserver, 13¾×13¾×2¾inch nylon 3D print

original art titled Ready To Ooze, 2013

Read To Ooze, 37⅝×63⅛inch exhibition AP from digital composite

original art titled Ready To Ooze, 2013

Read To Ooze, installed from digital composite

original art titled Seeding, 2013

Seeding, 14×21inch exhibition AP from digital composite

original art titled Shellfish Cells, 2013

Shellfish Cells, 7⅝×9⅝inch exhibition AP from digital collage

original art titled Similar Image Object (B), 2013

Similar Image Object (B), 15¾×47¼ screenprint on mirror

original art titled Similar Image Object (B) screen, 2013

Similar Image Object (B), screen pattern for screenprint

original art titled Untitled Head, 2013

Untitled Head, one of two 21⅗×24inch prints from digital composite

original art titled Adobe Mask, 2012

Adobe Mask, one of three 22½×27⅞inch prints from digital composite

original art titled Artists Image, 2012

Artists Image, one of five 8⅝×11¾inch prints from digital composite

Beyond The Fall
solo exhibition at O'Born Contemporary
February 4 – March 10, 2012

original art titled original art titled original art titled original art titled original art titled original art titled
original art titled Big Blue, 2012

Big Blue, 2560×1440pixel digital composite

original art titled bow 2012

bow, one of three 23⅝×15½inch prints from digital composite

original art titled Cell Pattern, 2012

Cell Pattern, one of two 96×96inch prints from digital composite

original art titled Clear Greens, 2012

Clear Greens, a 120×80inch screenprint on plexi

original art titled Daily, 2012

Daily, one of three 40×57½inch prints from digital composite

original art titled Daily installed, 2012

Daily, installed from digital composite

original art titled Earlier, 2012

Earlier, one of three 12⅗×16¾inch prints from digital composite

original art titled Jame, 2012

Jame, one of two 15×22½inch prints from digital composite

original art titled Jame installed, 2012

Jame, installed from digital composite

original art titled Mangrove Down, 2012

Mangrove Down, 45¼×74¾inch exhibition AP

original art titled Mangrove Up, 2012

Mangrove Up, 45¼×74¾inch print from digital composite

original art titled Mangrove Down installed, 2012

Mangrove Down, installed from digital composite

original art titled Straw Man, 2012

Straw Man, 180×96inch exhibition AP from digital composite

original art titled Supercollider, 2012

Supercollider, one of three 48×48inch prints from digital painting

original art titled Up, 2012

Up, one of three 17½×22inch prints from digital composite

original art titled Whale Brain, 2012

Whale Brain, 20×30inch prints from digital composite

original art titled Aurora, 2011

Aurora, one of five 12⅗×12inch prints from digital composite

original art titled Aurora, 2011

Aurora, framed from O'Born Contemporary

original art titled

Batgirl, one of four 12×17inch prints from digital composite

original art titled Beyond The Fall, 2011

Beyond The Fall, one of three 43×64inch prints from digital composite

original art titled Blackfoot, 2011

Blackfoot, one of five 9⅛×15inch prints from digital composite

original art titled Blackfoot framed, 2011

Blackfoot, from Galerie BAC

original art titled Bluenose, 2011

Bluenose, one of four 11×15inch prints from digital composite

original art titled Bluenose framed, 2011

Bluenose, framed from O'Born Contemporary

original art titled Bluenose installed, 2011

Bluenose, installed from digital composite

original art titled Island, 2011

Island, 48×24inch exhibition AP from digital composite

original art titled Island framed, 2011

Island, framed from Angell Gallery

original art titled Kind of Blue, 2011

Kind of Blue, one of five 13⅛×11⅛inch prints from digital composite

original art titled Kind of Blue installed, 2011

Kind of Blue, installed from digital composite

original art titled Myrrha, 2011

Myrrha, one of five 7½×9⅞inch prints from digital composite

original art titled Myrrha framed, 2011

Myrrha, framed from O'Born Contemporary

original art titled Paradise, 2011

Paradise, one of four 11×15inch prints from digital composite

original art titled Parrots, 2011

Parrots, 84×60inch exhibition AP from digital composite

original art titled Parrots installed, 2011

Parrots, installed from VOLTA NY 2012

original art titled Purple Jesus 2011

Purple Jesus, one of five 12¾×13⅛inch prints from digital composite

original art titled Purple Jesus framed, 2011

Purple Jesus, framed from O'Born Contemporary

original art titled The Infant and The Garden Hose, 2011

The Infant and The Garden Hose, 47inch diameter exhibition AP from digital composite

original art titled Untitled Gaze, 2011

Untitled Gaze, one of four 11×15inch prints from digital composite

original art titled Artists Retreat, 2010

Artists Retreat, one of five 14⅗×16inch prints from digital composite

original art titled Artists Retreat framed, 2010

Artists Retreat, framed from O'Born Contemporary

original art titled Body Of Eris original art titled Body Of Eris original art titled Body Of Eris original art titled Body Of Eris original art titled Body Of Eris

Body Of Eris, 74×48×18inch mixed media sculpture

original art titled Bring Home the Bacon, 2010

Bring Home the Bacon, one of five 14⅗×16inch prints from digital composite

original art titled Cooks Cape, 2010

Cooks Cape, 84×60inch exhibition AP from digital composite

original art titled Dweller, 2010

Dweller, one of five 9⅞×11⅖inch prints from digital composite

original art titled Ed, 2010

Ed, one of five 11×11inch prints from digital composite

original art titled Figure Head, 2010

Figure Head, one of four 55×57inch prints from digital composite

original art titled Figure Head detail, 2010

Figure Head, detail from digital composite

original art titled Figure Head installed, 2010

Figure Head, installed from O'Born Contemporary

original art titled Fungus Philosopher, 2010

Fungus Philosopher, one of ten 7⅞×9⅛inch prints from digital composite

original art titled Good Grief, 2010

Good Grief, one of ten 16×22inch prints from digital composite

original art titled Good Grief framed, 2010

Good Grief, framed photo from Galerie BAC

original art titled Grandfather Wreath, 2010

Grandfather Wreath, mixed media sculpture

original art titled

Ground, exhibition AP from digital composite

original art titled Knight, 2010

Knight, mixed media sculpture

original art titled Monster Mash, 2010

Monster Mash, one of five 7⅞×9⅛inch prints from digital composite

original art titled Oregon Accidental, 2010

Oregon Accidental, one of fifty 15×20inch prints from digital composite

original art titled Plans For A Home, 2010

Plans For A Home, one of five 20½×24inch prints from digital composite

original art titled Salt Lake Schulnik, 2010

Salt Lake Schulnik, one of five 12×13inch prints from digital composite

Smarter Today
solo exhibition at O'Born Contemporary
October 28 – December 4, 2010

original art titled original art titled original art titled original art titled original art titled original art titled original art titled original art titled original art titled original art titled original art titled original art titled
original art titled Spider From Venus, 2010 original art titled Spider From Venus, 2010 original art titled Spider From Venus, 2010

Spider From Venus, 33×13×16inch mixed media sculpture

original art titled Teen Dream, 2010

Teen Dream, one of ten 9⅞×11⅖inch prints from digital composite

original art titled The Invisible Man Returns, 2010

The Invisible Man Returns, 32×47⅞inch exhibition AP from digital composite

original art titled Three Fates, 2010

Three Fates, 92×60inch exhibition AP from digital composite

original art titled Three Fates detail, 2010

Three Fates, detail from digital composite

original art titled

Trouble on Volcano Sundae, one of five 14⅗×16inch prints from digital composite

original art titled

Trouble on Volcano Sundae, framed photo from O'Born Contemporary

original art titled Untitled Greens, 2010

Untitled Greens, one of five 14⅗×16inch prints from digital composite

original art titled

Venus Beach House, one of three 7¾×10⅗inch prints from digital composite

original art titled Crewdson Landscaping and Design, 2009

Crewdson Landscaping and Design, one of five 17×17inch prints from digital composite

original art titled Fischer’s Garden, 2009

Fischer’s Garden, one of five 17×17inch prints from digital composite

original art titled Hilde-Brand Graffiti, 2009

Hilde-Brand Graffiti, one of two 54×36inch prints from digital composite

original art titled Julia Waits at Kims Crag, 2009

Julia Waits at Kims Crag, one of five 17×17inch prints from digital composite

original art titled Our Ground, 2009

Our Ground, one of three 60×60inch prints from digital composite

original art titled Polyester Boat, 2009

Polyester Boat, one of five 17×17inch prints from digital composite

original art titled Polyester Boat framed, 2009

Polyester Boat, framed photo from The Spoke Club

original art titled Santiago Sara Brown, 2009

Santiago Sara Brown, one of five 17×17inch prints from digital composite

original art titled Safarti’s Walk, 2009

Safarti’s Walk, one of five 17×17inch prints from digital composite

original art titled Sarsen for the Mother of the Bride, 2009

Sarsen for the Mother of the Bride, one of five 17×17inch prints from digital composite

original art titled South West Esteem, 2009

South West Esteem, one of four 54×36inch prints from digital composite

original art titled Terra Cape, 2009

Terra Cape, one of five 17×17inch prints from digital composite

original art titled Tethered To Soth, 2009

Tethered To Soth, one of five 17×17inch prints from digital composite

original art titled Untitled (Stars 6), 2009

Untitled (Stars 6), one of four 10¼×6½inch prints from digital composite

original art titled We'll Watch Twin Peaks, 2009

We'll Watch Twin Peaks, one of three 54×36inch prints from digital composite

original art titled Williams Bridge, 2009

Williams Bridge, one of five 17×17inch prints from digital composite

original art titled Fallow The City Has Fields, 2008

Fallow The City Has Fields, one of five 2¾×4½inch prints from digital composite

original art titled Jeff Wall Dug Me A Mountain, 2008

Jeff Wall Dug Me A Mountain, one of five 54×36inch prints from digital composite

original art titled Untitled Body Landscape (Part 3), 2008

Untitled Body Landscape (Part 3), one of five 11½×11½inch prints from digital composite

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Statement

As a visual artist, I work on the frontier of expanded painting. This means that a riot of possible techniques and subjects are considered when working on a single piece. I practice a continuous reflexivity in order to address and critique the different psychological rationales and cultural schools of thought that history has provided. Working similarly to an abstract expressionist I layer and discover compositions through the creative process, one that coincides with what R.G. Collingwood described as not expressing the unknown, but discovering the unknown.

I’m interested in painting specifically, as an object that bears a concrete, almost measurable evidence of labour on its surface. To develop these ideas, I use advanced digital image editing techniques to map out complex compositions. Essentially, I make images that blur the borders between media, challenge expectations, and let me enter into conversations about our culture and nature.

Paramount to all of this is an endeavour to engage audiences by making images that can seduce into contemplation both the naive glance and an informed critical gaze. I believe art can be a catalyst for making people aware of how perceptive they are already. The act of looking is all that is required.

Education

2010 B.F.A. Honours in Visual Arts, York University, Toronto, Canada

Made possible with the support of...

BNY Mellon, Leith Wheeler, Shrigley Battrick, Statoil, and TD Bank Group.

The Ontario Arts Council