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
–Oversized Beneath the Percolator
–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)
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].
–Art for Life
–The Dead 2
–Hollingworth & Davie
–MAKE // BREAK // FIX
–The Pleasant Matthews
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2012. Ink on paper. 7 x 6 in.
Text that I contributed to Whispers Project has been installed as a mural at 553 Hamilton Street, 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:
Obscured in their isolation the words gain new context from their surroundings and speak for more than a single author. Drawing on the finality of commercial hand-lettering and the immediacy of graffiti, Whispers will develop a language which is driven neither by capital nor dissent, but by the inquisitive exploration of human experience in this urban landscape.
“[ . . . ] enclosed by a neatly folded golden foil wrapper (similar to that which might contain a segmented chocolate bar). What one finds inside the packaging resemble rows of shower tiles – small white chiclets flecked with green seafoam and bound together in a grid by some sort of greyish mortar. Break a square off at the mortar seam, and you can safely carry it with you. But, snap a tile in half, and it will release sedative fumes.”
2012. Ink on paper. 8.25 x 6.5 in.
Work from my Excerpts series is included in the second edition of Critical Writing Collective’s COPY, “a publication which explores writing within visual art and performance practice.” There is a launch event happening from 6:30-7:30pm this Saturday, December 3 at S1 Artspace in Sheffield, UK:
COPY // unfold proposes a tension between the resolved and unresolved, drafted and rewritten, finished and unfinished through works which explore, respond to or enact a state of being ‘in process’.
Alain Ayers, David Berridge, Julia Calver, Paul Carr, Rachel Lois Clapham, Emma Cocker, Laura Davidson, Joanna Loveday, Flatten the Mountain, Daniel Fogarty, Sarah Frydenlund, Derek Horton, Tamarin Norwood, Flora Robertson, Terry Slater, Richard Taylor, John Winslow,Paul Wright. COPY is designed in collaboration with Dust.
We hope you can join us for the launch of COPY unfold on Sat 3 December.
Following a short introduction to the publication contributors Emma Cocker, Joanna Loveday, Daniel Fogarty, J.D.A Winslow and Paul Wright will present their work through readings, video and print, followed by an informal discussion involving CWC, further contributors and design collective Dust, with the chance to ask any questions.
The launch provides a great opportunity for late viewing of the S1 Members Show 2011 for anyone who hasn’t seen the exhibition and a chance look around the S1 Open Studios (3-7pm). The S1 Christmas event Metallic Merryfest starts at 9pm and we welcome you to join us for the event, we will invite any guests to join us for drinks and food in the interim period. Find the events on Facebook.
2011. Ink on paper. 6.25 x 4 in.
The following is reproduced from a project on VerySmallKitchen:
I am very much interested in certain relationships between image and text. This interest is not only concerned with final forms, or products, but also with the processes “drawing” and “writing” through which the results are arrived at. I see parallels between grammatical structure and delineated form, especially within the sort of mental and physical groping exercised when working toward their refinement. The pictorial and verbal connections I attempt to handle in my practice are often nebulous at best, yet apparent enough for me to negotiate conceptually. However, once momentum has died down and all that remains is the final draft – the residue of process – it is the specifics of fiction, with its requisite plot and character(s), which tie together disparate visual and textual elements. Formally disconnected images band into a unified series through a titling system which reads like excerpts from an overarching narrative. At the same time, uncertain illustrational relationships between text and a visually cohesive set of images can be reinforced through the repetitive application of narrative continuity.
Tadeusz & Gregory are most certainly fictional, and possess potential for fluid identity. The idea of Tadeusz & Gregory is an intentionally vague set of relationships which can be played with in a variety of ways. Regardless of what is written about them, Tadeusz & Gregory may or may not be alike Mason and Dixon, Mason & Dixon, Harrison and Wood (but neither Harrison nor Wood), Reeves & Mortimer, Mark and Jeremy, or any of countless other (and not necessarily British) duos. However, Tadeusz & Gregory are definitely self-serious intellectuals whose research, of no fixed academic discipline, is likely insignificant to both their peers and the population at large. Yet the pair carry on while maintaining an impeccable work ethic. In turn, they celebrate their achievements and bemoan their failures.
Tadeusz & Gregory’s pairing as a duo carries with it the expectation of an act or routine. The nature of this enacted relationship is informed by what is committed in writing about the two colleagues, but is also influenced by expectations carried over from popular culture. The implied missing, or extra, identifying narrative information that is inherently present in excerption as a format lends itself to the malleability of the two characters’ association. This facilitates the conceit of the Excerpts series: that the titles are written as though excerpted from a greater completed story. However, there is largely no premeditated continuity in Excerpts. Thus flexibility in both the identity and interactive tendencies of the characters is useful for allowing the introduction or de-emphasis of landmarks and trajectories within the expanding fiction. And because the drawing and writing are so structurally and procedurally interwoven, enabling verbal improvisation encourages similar leeway in the realm of the pictorial.
“Left, left, right, left, left, left, and right. The route is the same, but the landmarks have changed. Where have the stairs gone? The pair of archaeologists warned that this might happen. No, they warned that it would happen.”
2011. Ink on paper. 6 x 6 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.
“He stubbornly continues to explore the room in a systematic fashion. He may be falling to the lower floor a little too frequently, but he expects the tumbles would occur even more often if he were to simply fumble about through the darkness. He won’t entertain the notion that he could be wrong.”
2011. Ink on paper. 9 x 6 in.