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DRAWING, WRITING, ETC.:
–New Miscellany (2016-Present)
–A slight so egregious it lingers beyond the dream (2015)
–The House without Orifices
(2014)
–Oversized Beneath the Percolator
(2014)
–Untitled/Unpictured (2013-2014)
–Excerpts (2007-2012)
–Bonfire Night (2012)
–Whispers Project (2011-2012)
–Paolo vs. “The Man” (2011-2012)
–Dicework II (2008-2009)
–The Dead (2008)
–Dicework I (2008)
–The Messier Catalogue (2007)
–Brushstroke Diagrams (2006-2007)
–Tell Me What to Paint (2006)
–Miscellaneous (2005-2006)ABOUT:
Lives and works in Vancouver, Canada. Primarily interested in the following: a) Visual and textual lines; b) the antiseptic tempered by a quiver of the handmade; and c) the diagrammatic and/or explanatory, especially when cloaked in ostensible self-importance without necessarily being true, serious business. Adherence to stringent procedural methods allows for an iterative exploration of the above concepts ad infinitum [read more].
–CV
–News
–Contact -
LINKS:
–andthefansroared
–Art for Life
–Art Waste
–bric-à-brac studio
–Christopher Sage
–Cody Rocko
–Copy
–Courtney Johnson
–The Dead 2
–Grand Union
–Hollingworth & Davie
–Jesse Gray
–John Russell
–Jordy Hamilton
–MAKE // BREAK // FIX
–Marina Roy
–Nice Things
–Nick Lakowski
–The Pleasant Matthews
–Tim Dixon
–VerySmallKitchen
–Whispers Project -
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WORK: Images from Excerpts: Typography
“Karl strolls with hands in pockets along the dusty pebble path between the train tracks and the brush. It is a bright and clear afternoon. Though spring has not yet arrived, it is warm. Karl feels a little overdressed and stuffy in his three-piece suit under an overcoat. Up ahead he sees a curious sight. There is a young boy seated on a small plastic stool with a toy fishing rod cast into a lingering puddle of murky water. Behind the boy stands an elderly caretaker, perhaps his grandmother, patiently entertaining the child’s folly – as if any obtainable prize would be swimming in such a remote, shallow, and impermanent body of water. What is most remarkable about this vignette is that both the boy and grandmother remain completely motionless with eyes closed, even as Karl invasively regards them from mere inches away. Of course the ‘incident’ is still occurring only half a city block from here. The child and senior are fully aware of what will certainly happen to their memories at the hands of Karl’s colleagues if eavesdropping were to be suspected, and so the pair have opted to remain resolutely oblivious.”
2011. Watercolour and gouache on paper. 9.5 x 7 in.
“Tadeusz stops writing mid-word, not to sharpen his pencil – though it could do with sharpening – but rather because he just now realises he might finally understand the eagle-thing analogy Gregory incoherently expounded the other evening.”
2011. Watercolour on paper. 9.5 x 7 in.
“He’ll only move deeper into the murky room once he’s determined the extent of its perimeter.”
2010. Watercolour, gouache, and graphite on paper. 9.5 x 7 in.
“It must be his fifteenth time back up these stairs. Once up, he quickly moves toward that now familiar corner in a zigzag pattern that he would like to believe is him avoiding gaps he has already fallen through.”
2010. Watercolour and graphite on paper. 9.5 x 7 in.
“This expansive room is infuriating. It is poorly lit and the pitfalls leading to the lower floor are cleverly concealed. Frequent drops down a level are to be expected, and try as he may to anticipate these sudden diversions, they never cease to disconcert him. They occur far too often for his liking, though luck has so far protected him from injury.”
2010. Watercolour and graphite on paper. 9.5 x 7 in.
“It is not long before he loses faith in his memory. His movements become slow and cautious. He looks around. The craggy walls are devoid of colour and appear as a grainy grey that somehow darkly shimmers. This inky particulate passes back and forth across his vision with rapid tidal regularity. He can’t be certain of anything in this place.”
2010. Watercolour and graphite on paper. 9.5 x 7 in.