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DRAWING, WRITING, ETC.:
–New Miscellany (2016-Present)
–Drawing Group (2015-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: Portholes
“Malleable identification, as the boy has taken it on, has not been a liberating experience, but it has been a relief.”
2012. Ink on paper. 10 x 7.5 in.
“Such stringent guidelines governing self-identification may seem arbitrary presently, but he’s borne names prior to this one which did not allow for any hair growth at all. [ . . . ] These are but a few of the instances in which he finds that only specific decisions can ever be made. Fluid identity has not turned out to be the liberation he anticipated.”
2012. Ink on paper. 7 x 7.5 in.
“To be clear: Those names did not engender relentless pruning regimes. Rather, each name – for the entirety of its active duration – rendered hair growth biologically impossible.”
2012. Ink on paper. 6.75 x 7.5 in.
“[ . . . ] but he’s borne names prior to this one which did not allow for any hair growth at all.”
2012. Ink on paper. 7 x 7.5 in.
“They have been tasked with designing a pair of scissors capable of cutting an object not located between the scissors’ two blades.”
2011. Ink on paper. 6.25 x 4 in.
“Gregory’s limbs relax, and spread out around him across the floor. “Where the hell am I?” he asks as he realizes he is staring at an office ceiling. [ . . . ] The last thing that he can remember doing was examining a complex diagram on a large sheet of paper. [ . . . ] The left side of Gregory’s head and body, as well as his chest, feel badly bruised. And why are his eyes so dry?”
2011. Ink on paper. 8.5 x 7 in.
“Tadeusz retrieves an airline sleep mask from his desk drawer. He removes the mask from it’s package, and slips it over Gregory’s open eyes. Tadeusz waits patiently. It has been well over a month since the diagram first locked Gregory’s vision upon its immobilizing design; therefore, it will take some time for the afterimage to fade from Gregory’s sight. Twenty-seven minutes and forty-three seconds pass uneventfully, and then the diagram suddenly shifts loose from the spot where it has been persistently hovering in front of Gregory’s face. The diagram then sways gently as it floats down toward Gregory. Only a small corner of it lands on Gregory’s nose and cheek, but quickly slides off and follows the rest of the diagram onto the floor next to Gregory’s recumbent head. Gregory blinks, and begins to breath again.”
2011. Ink on paper. 8.25 x 8 in.
Tadeusz & Gregory’s geometrically induced predicament draws to a close.
“Tadeusz is sprawled across the length of the office couch. It is midafternoon, and a clear day. He is staring out the window, which faces north. It is bright and blue outside, but no direct sunlight penetrates the pane. Despite the time of day, with the lights switched off, the room remains quite dark. Tadeusz closes his eyes. A sharp, impossibly coloured image of window-framed sky lingers briefly upon the dull interior of his eyelids. It is not long before the afterimage has been reduced to a spatter of multicoloured flecks. It comes to him then. Tadeusz jerks up into a seated position on the couch. He looks down toward the floor at Gregory’s rigid body with diagram floating above it. Finally, Tadeusz will be able to end this.”
2011. Ink on paper. 8.5 x 8 in.
“‘Why does the bond between Gregory’s retinae and the diagram not dissolve when the pattern is blocked from Gregory’s view?’ Tadeusz cannot fathom any answer to the question, let alone a plausible answer.”
2011. Ink on paper. 8.5 x 7 in.
“Gregory is still lying on his back. Tadeusz, with one hand, holds a thick text book between the diagram and Gregory’s eyes in an attempt to sever the invisible bond between the two. With his free hand Tadeusz tests the fixity of the floating sheet of paper’s position relative to Gregory. It only takes a brief moment for Tadeusz to confirm that the bond has not been broken. Sighing, he walks away from his colleague and places the heavy tome back in its place upon the shelf.”
2011. Ink on paper. 5.25 x 4.25 in.