Installation size variable
Plaster, Saskatoon water treatment plant “waste cake”, Saskatchewan River Delta sediment and water. Soil. 2017
Journey is a piece that was created in response to my experience with the Saskatchewan river and its delta. One of the main areas of study was around the Gardiner dam. It is used for power production and irrigation and it also controls the flow of water through Saskatoon and through to the delta. The dam regulates flow though scheduled periods of water release throughout the year. Due to this interruption of the natural flow, there are many adverse effects on sedimentation in the water; creating hungry water, disruption of migratory bird mating patterns as well as negative effects on human health due to lose of livelihood, and other chemical changes in the environment. Upon learning of the effects of dams on the south Saskatchewan river delta I was fraught with the idea of responding to it through visual means. I decided to create a timeline with the circular soil to communicate the cyclical nature of our world and our lives. Each pair of feet contain different parts of our river as well as an element of human intervention on it. Such as waste cake from the Saskatoon water treatment plant, or sediment and water from the river delta at Cumberland House, Sk. All the natural material comes from the same river but at different places along the waters journey, as well as my own personal journey. This piece is meant to speak to waters journey through the land and through humans, as well as our human journey across the land and with water.
APRIL 2019
THIS ISN’T AN ART SHOW, is a satire on contemporary art, artist and culture. In these gestures we aim to disrupt the notion of significant meaning in art by highlighting the banality of these objects. Collaboratively @zero_influence and @brutallydiscarded gather inspiration from their local and global environment to produce work as a critique on post modern art, craftism and the ready-made. In our experimental response to contemporary art making we shift out of the white cube and into unconventional spaces. In this we aim to disrupt and subvert the art institution, art space and art speak.
Dialog, as an exhibition discusses the connection between the physical body and the emotional body. By the physical body I am speaking of muscles, organs and overall health and by emotional body, my thoughts, feelings, mental anxieties and fears. Created in an intense emotional state, the series evolved from a collection of moments of uncertainty. In the creation process of the work I am searching for a resolution and an understanding of these experiences and relationships. Through working on my art I become more aware of how these experiences are impacting both my physical and or emotional body.
I am connecting the mediums of painting and sculpture through the thematic discourse of Dialog rather than stylistically. This choice to speak in a minimalist vocabulary through sculpture and an expressive, figurative style of painting is to highlight the dichotomy and tensions in my search for resolve.
NEVER THE SAME, is a figurative painting exhibition curated by Emily Zdunich. Included are works from artist’s, Lauren Warrington, Nguyen Tran, Brandon Panasiuk and Emily Zdunich
Impermanence is the notion that all conditioned existence is transient, evanescent and inconstant. The term is essential to Buddhist doctrine on existence. Although Buddhism and its practices are not directly related to his exhibition the notion of impermanence is one that I find to be particularly effective in conveying the essence of this body of work.
This series began after the sudden passing of my mother. I found myself in a deep period of contemplation on the essential meaning of death as well as life. I explored the profound bond between mother and child, as well as the changing relationship during the time of birth. As the child is involuntary separated from their mother, they are weak, fragile and experiencing everything for the first time. Similar to how I felt during my second separation from my mother. The images chosen are all caesarean births to imply medical intervention during a very personal experience. I chose to emphasize these moments in which unknown individuals are cutting the umbilical cord symbolizing to me a lack of choice in the matter but also the inevitability of that moment.
Fortunately, this series had a chance to evolve to display a painting style change, as well as an interpersonal evolution on the subject matter. The dark chiaroscuro oil paintings are subtly juxtaposed with a looser more expressive style. This colour and style change progressed and is reflective of my current relationship with the subject matter.
I dedicate this exhibition to my mother Joann, and our ever-evolving relationship even though we are no longer physically connected.
