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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: gu2012
“[ . . . ] 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.
“He’s told he could have lightning bolt patterns shaved into the hair on the sides of his head. This causes him to chuckle. It would be silly to expect any notion of choice here, for the name he currently bears ensures that there can be only one possible outcome to this situation.”
2012. Ink on paper. 7 x 7 in.
Excerpts. 2009. Installation view: I Heart Van Art. 2010. Chapel Arts, Vancouver, Canada.
Excerpts. 2009. Installation views: The Dead 2. 2009. Great Northern Way Campus, Vancouver, Canada. Photos by Jordy Hamilton.
“Never the same, and always advancing toward decay: This is to be perpetually new, but not ever again young. The boy will invariably have more behind him, by now, than in front.”
2011. Ink on paper. 6.25 x 4 in.
“A pile of rocks resembles a chair. He’s weary from wandering, so he sits down on it. A layer of smooth pebbles gathered in the bowl of the seat makes for a very comfortable experience. This unexpected amenity must have been crafted by human hands, but his mind focuses on stranger things: the landmarks. They still look the same as before, but of course they’ve changed location. Are the resemblances then mere coincidence? He’s been thinking of the current here and there as the same here and there he passed through last time, the only differences being the location of the staircase joining here to there, and the requisite route to find those stairs. But now he has his doubts.”
2011. Ink on paper. 4.5 x 4.5 in.
“Any sense of accomplishment derived from having located the exit here is swiftly negated by the certainty that a return visit to this exact place would only yield an empty corridor.”
2011. Ink on paper. 4.5 x 4.5 in.
“Here are his landmarks, finally. But they aren’t where they’re supposed to be. Despite the immediate reassuring comfort of their familiarity, their dislocation has rendered them useless. Are they then meaningless too?”
2011. Ink on paper. 6 x 4 in.
“He’s already been over it in his head. He’s figured it out. But he’s thinking about it again, compulsively. He’s wasting time. He’s thinking, not doing. And it is becoming less defined the more he reexamines it.”
2011. Ink on paper. 9 x 5.75 in.
“Now they’re just showing off, he thinks. ‘Tadeusz and Gregory.’ The mere sound of those two names makes the boy want to spit on the floor. It is perhaps only the presence of carpet beneath his feet that prevents him from doing so. This aversion has most likely been carried over from a former self (certain neuroses of hygiene accompanied several of his previous names); likewise, his current disdain for the pair of scientists is a reaction to specific events experienced by someone he will not reconcile as himself (despite corporeal continuity). These lingering compulsions would weaken the case for his practice of pronounced inconsistent identity if only he were to acknowledge their origins.”
2011. Ink on paper. 6 x 9 in.