John Armstrong & Paul Collins
Collaboration: John Armstrong and Paul Collins
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Year of Birth: 2000
City: Toronto, Paris
Country: Canada, France
Type of Creator: Artist
Gender: Male
Mediums: painting, photography
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Work by John Armstrong & Paul Collins
keys / clefs
Work ID: 52683
Description: From the series, Jim →. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim → (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
word / mot
Work ID: 52715
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
character / caractère
Work ID: 52714
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
toilet / w.c.
Work ID: 52711
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
musical instrument / instrument de musique
Work ID: 52709
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
painted sky / ciel peint
Work ID: 52708
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
mustard pot / pot de moutarde
Work ID: 52682
Description: From the series, Jim ¡ú. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim → (pronounced in a bilingual, "Jim, that way, par l¨¤"). This references the graffiti scratched into the gravestones of P¨¨re-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/¨¦preuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
hat / chapeau
Work ID: 52707
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
Lucy Hogg
Work ID: 52724
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
George Seurat
Work ID: 52701
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
clock / horlorge
Work ID: 52702
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
Sorel Etrog
Work ID: 52689
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
flower / fleur
Work ID: 52691
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
florist / fleuriste
Work ID: 52718
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
directional indicator / panneau indicateur
Work ID: 52719
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
cemetery / cimetière
Work ID: 52684
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
editorial cartoon / dessin politique
Work ID: 52704
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
travel advertisement / publicité touristique
Work ID: 52721
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
boss / patron
Work ID: 52694
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
rad / radiateur
Work ID: 52705
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
record / enregistrement
Work ID: 52703
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
art dealer / galeriste
Work ID: 52696
Description: From the series, Jim →. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim → (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
hand / main
Work ID: 52686
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
cloth / tissu
Work ID: 52692
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
phrase
Work ID: 52716
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
Jean-Paul Riopelle
Work ID: 52710
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
arts administrator / administrateur d’art
Work ID: 52722
Description: From the series, Jim ¡ú. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim ¡ú (pronounced in a bilingual, "Jim, that way, par l¨¤"). This references the graffiti scratched into the gravestones of P¨¨re-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/¨¦preuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
hammer / marteau
Work ID: 52688
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
fish / poisson
Work ID: 52695
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
floor / sol
Work ID: 52697
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
tree / arbre
Work ID: 52698
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
garbage can / poubelle
Work ID: 52699
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
water / eau
Work ID: 52723
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
newscast / les infos
Work ID: 52690
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
chair / chaise
Work ID: 52687
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
colleague / collègue
Work ID: 52706
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
view of Canada / vue du Canada
Work ID: 52729
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
view of France / vue de la France
Work ID: 52728
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
critic / critique
Work ID: 52727
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
sujet libre
Work ID: 52726
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
poet / poète
Work ID: 52725
Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.
Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.
Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?
Measurements: 124.46 prints/épreuves : 27.94 x 35.56 cm
Collection:
Date Made: 2002
Materials: selenium-toned gelatin silver print
Virtual Collection: Original CCCA
Lakeshore: M Wintrob & Sons
Work ID: 52738
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: BATH
Work ID: 52733
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Kenya
Work ID: 52736
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: I don’t buy it
Work ID: 52735
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: What is the matter
Work ID: 52754
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Look-out
Work ID: 52737
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Smiths
Work ID: 52751
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: hotel
Work ID: 52734
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: TASCHEN
Work ID: 52752
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Baghdad begins
Work ID: 52732
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Aurora Dixie Cup
Work ID: 52731
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Niagara Falls STEP
Work ID: 52742
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: Niagara Falls SLOWLY
Work ID: 52744
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: more Lebensraum
Work ID: 52740
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: mors ultima ratio
Work ID: 52741
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: WORLD TRADE CENTRE
Work ID: 52755
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Lakeshore: perçu directement par le personnel
Work ID: 52747
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2002-04
Materials: oil paint on C-prints
Virtual Collection: Original CCCA
Niagara Falls (STEP)
Work ID: 60746
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 93.98 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
Niagara Falls (SLOWLY)
Work ID: 60744
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 88.9 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
MIND YOUR HEAD
Work ID: 60741
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 81.28 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
khakireshaped
Work ID: 60743
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 86.36 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
I can’t get no representation
Work ID: 60732
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 58.42 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
Niagara Falls (BY STEP)
Work ID: 60747
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 96.52 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
to my graduate student
Work ID: 60730
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 53.34 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
This Area is Alarmed
Work ID: 60738
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 73.66 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
pas convaincu
Work ID: 60734
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 63.5 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
forget about amerika
Work ID: 60736
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 68.58 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
red wine glass
Work ID: 60740
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 78.74 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
armée du salut
Work ID: 60733
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
Grumble
Work ID: 60739
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.
We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.
By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.
Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.
Walt Whitman, By Blue Ontario's Shore, 1856
Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.
Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.
Measurements: 76.2 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
red green yellow
Work ID: 60729
Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.
For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop t
Measurements: 50.8 x 76.2 cm
Collection:
Date Made: 2005
Materials: oil on chromogenic print / dye coupler print
Virtual Collection: Original CCCA
John Armstrong & Paul Collins
Work ID: 53087
Collection:
Date Made:
Materials:
Virtual Collection: Original CCCA
