DaDa Delirium, 2009 -13
DaDa Delirum was a solo exhibition of my work that traveled to a number of public galleries in Canada. Accompanying the exhibition was an extensive catalogue (2011) with essays by Stuart Reid, Nell Tenhaaf and an interview with the artist by Georgiana Uhlyarik, (See Press section of this site)
DaDa Delirum was exhibited at: Tom Thomson Gallery (2009), MacLaren Art Centre (2010), Art Gallery of Northumberland (2012), and the McIntosh Gallery, University of Western Onario, (2013).
Selections from this exhibition, the Nowhere Everywhere group of paintings, were first exhibited at the Museum of Contemporary Canadian Art Toronto, ON. (2004), Owens Art Gallery, Sackville, NB. (2004), Faux Movement. Metz, France (2003), & Kunsthalle, Erfurt, Erfurt, Germany, (2002).
Selections from the DaDa Flow and DaDa Delirio paintings were exhibited as part of the Empire of Dreams Exhibition at MOCCA, 2010.
These paintings begin from the black and white photographs I take of the sterile interiors of such seemingly public spaces as the lobbies' of multinational corporations or the underground passageways that control the flow of people. The photographs I take in this performative aspect of my process are psychological impressions, located everywhere yet nowhere, rather than an attempt at literal documentation.
One of my major concerns is with the hybrid space of our contemporary globalized environment. In these spaces, the real and the virtual mingle becoming immersive, destabilizing and ecstatic. In the spaces through which I travel, photographing becomes a transgressive act done with the knowledge that I am under electronic surveillance, surveying the surveyors. But, I am primarily watched not by the desiring 19th century man, the flâneur who, in part, once watched women on the streets of Paris but by the all seeing electronic eye. Panopticonic space has moved outside of Jeremy Bentham’s prison censoring our actions even in our blind spots. Extending beyond the urban 'gaze' of the surveillance camera, now we can all be tracked and positioned even in the wilderness. Space has collapsed blending the near and the far, the real and the virtual, the urban and the rural. In my paintings I try to visualize this new globalized space that is layered and fluid.
I see the surfaces of my paintings as hovering somewhere between skin and screen caressed by my touch but with no tracking of the hand/brush visible. The colour is purposely fake. Life has turned into 'still life' frozen on the screen, reflected in the glass, observed, recorded, transmitted, digitized. Translucent shiny layers of colour act as both barriers and filters that position the viewers or spectators as the surveyors looking out from the gaps or 'windows' in the imagined viewing chambers. The extreme contrasts of light and dark evoke the sublime, but not the sublime in nature seen in the work of the 19th century painters such as Friedrich and Turner. Now that nature has been observed, measured, subjected to experiments and tabulated as part of the Enlightenment Project, it may retain its beauty but in our arrogance we assume that it has lost much of its sense of terror intrinsic to the sublime. Within the contemporary world, man's technological achievements have become the new sublime, the techno- sublime.