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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: writing
COPY \\ unfold
This is very old news, but some years ago I made a contribution to COPY’s edition Unfold.
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“Ronette is delighted to discover that ‘belligerents’ is a noun.”
“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.
This might feel like home. 195 East 26th Avenue, Vancouver, Canada.
I have contributed text to another Whispers Project mural, which reads: “If only the colors were a little different, this might feel like home.” This Whisper can be seen alongside other mural and graffiti art upon the sides of Little Mountain Gallery in Vancouver, Canada.
Whispers Project is a series of typographic murals located around Vancouver, and is coordinated by Eli Horn and Jordan Bent in collaboration with local writers.
“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.
A Whisper at the Hotel Del Mar. 2012. 553 Hamilton Street, Vancouver, Canada.
Photos by Lina Fitzner.
THE MORNING OF THE SALE, EVERYONE WAS OUT THERE WAITING FOR THE DOORS TO OPEN. THEY ALL WANTED WHAT THEY’D SEEN IN THOSE PICTURES.
Whispers Project has updated its website with details about A Whisper at the Hotel Del Mar, a mural in Downtown Vancouver featuring text I wrote. Whispers Project explains that:
The Del Mar is a hotel downtown at 553 Hamilton Street well known for the owner’s stance that the building remain dedicated to providing low-income housing. It is also currently home to the Or Gallery, a foundational artistic institution in Vancouver, and already features a beautiful text piece by artist Kathryn Walter which emblazons the words “Unlimited growth increases the divide” across the building’s face.
Whispers Project is a series of typographic murals located around Vancouver, and is coordinated by Eli Horn and Jordan Bent in collaboration with local writers. The project is primarily concerned with expression and public space:
The Whispers were designed to reference the scale and style of commercial hand-lettering, but intended to communicate creative content instead of the commercial sales pitch. Enabled by barriers of economy and policy, the medium of advertising appears to have monopolized the realm of large-scale public communication. Despite the term ‘public space’ being commonly accepted as equating a sort of commons of the people, most of the physical property in our city is either privately owned, or highly regulated. While plenty of space has been made available for voices willing to pay (namely advertisers), the simple expression of an individual without economic means is rendered illegal.
There are currently two Whispers, and more are planned. Further information about each mural – as well as a map marking their locations – is available on the Whispers Project website.
“Golden, early evening sunlight casts a reflection of the duvet upon the inside of the windowpane. Seen within this semitransparent mirror image is a sizeable shadow slowly, and silently, pacing to and fro across the surface of the duvet. But, no such shadow darkens the real, physical duvet. Certainly, nothing is moving, nor present, in the room (nor outside the window) to act as the source of the shadow. The only one there is the boy beneath the duvet.”
2012. Ink on paper. 7 x 7 in.