CCCA Canadian Art Database

John Armstrong

John Armstrong is Canadian visual artist and educator. Armstrong has exhibited his solo work in Toronto galleries such as YYZ, Cold City and Birganart. In 2003-04, his solo work was included in the Kunsthalle Erfurt's touring exhibition (described above) The Ironic Turn. A 1998 survey exhibition of his artwork from the 1990s, titled Sanguine, was organized by Cambridge Galleries, and toured to the Owens Art Gallery, Sackville, New Brunswick, and to Plug In ICA, Winnipeg. Armstrong was a member of the Board of Directors of Mercer Union from 1991 to 1997, and has curated exhibitions in Toronto for Mercer Union, The Museum for Textiles and Harbourfront Centre, in Peterborough for Artspace, and in Kingston for the Agnes Etherington Art Centre. He has published many reviews and articles for C International Contemporary Art; his writing has also appeared in ArtsAtlantic, BorderCrossings, Canadian Art and Parachute, as well as in The Globe and Mail. Armstrong has instructed in the studio division of the joint Sheridan and University of Toronto Art and Art History Program since 1982; additionally, he has taught on the Cultural Studies Program, Trent University (1982-87), and has served as an external assessor for the École régionale des beaux-arts Caen la mer (1996, 1989, 2008) and for the École régionale des beaux-arts de Rouen (1991). Armstrong holds an M.A. from Chelsea School of Art (London, UK) and a B.F.A. from Mount Allison University (Sackville, NB).
Creator Id: 26
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
City: Toronto
Country: Canada
Type of Creator: Artist, Curator, Writer
Gender: Male
Mediums: painting, photography, video
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Work by John Armstrong

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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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car / voiture

Work ID: 52685

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

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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

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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

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number / numéro

Work ID: 52720

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

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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

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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

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draped cloth / tissu drapé

Work ID: 52693

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

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Jim –>

Work ID: 52681

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

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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

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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

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curator / commissaire d’expositions

Work ID: 52717

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

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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

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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

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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

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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

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air vent / bouche d’aération

Work ID: 52713

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

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bicycle / vélo

Work ID: 52700

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

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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

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phone / téléphone

Work ID: 52712

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

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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

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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

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Lakeshore: Red Coat Cup

Work ID: 52749

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:

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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:

Materials:

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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:

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Lakeshore: Niagara Falls I TURN

Work ID: 52745

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:

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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:

Materials:

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Lakeshore: WAYS OF SEEING

Work ID: 52753

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:

Materials:

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Lakeshore: Pompidou

Work ID: 52748

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:

Materials:

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Lakeshore: Niagara Falls BY STEP

Work ID: 52743

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:

Materials:

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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:

Materials:

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Lakeshore: 0.1

Work ID: 52730

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:

Materials:

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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:

Materials:

Virtual Collection:

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Lakeshore: Michael

Work ID: 52739

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:

Materials:

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Lakeshore: OUR WINDOW

Work ID: 52746

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:

Materials:

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Lakeshore: Renseigements Généraux

Work ID: 52750

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:

Materials:

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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

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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

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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

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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

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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

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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

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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

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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

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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

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PAIL-SEAU

Work ID: 60742

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: 83.82 x 76.2 cm

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Niagara Falls (I TURN)

Work ID: 60745

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: 91.44 x 76.2 cm

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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

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par votre démarche

Work ID: 60735

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: 66.04 x 76.2 cm

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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

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OR

Work ID: 60748

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: 99.06 x 76.2 cm

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four-banger grocery getter

Work ID: 60731

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: 55.88 x 76.2 cm

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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

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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

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Hearst

Work ID: 60737

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: 71.12 x 76.2 cm

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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

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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

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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

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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

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Cache-misère: The Last Lakeshore

Work ID: 70812

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: A SLOW WAY TO GET RICH

Work ID: 70793

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: CHURGIEN EN GREVE

Work ID: 70794

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Betty Boop

Work ID: 70795

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: The Last Vitrier

Work ID: 70814

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Cache-misère

Work ID: 70799

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Election night

Work ID: 70800

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Green Kitchen

Work ID: 70801

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Nouilleville

Work ID: 70804

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Pleine lune

Work ID: 70805

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Précedent sans suite

Work ID: 70807

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: sans précédent sans # 590B54

Work ID: 70808

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Water Supply

Work ID: 70815

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Répétition

Work ID: 70806

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: BRIDELIGHT

Work ID: 70797

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Horta House

Work ID: 70803

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Canard

Work ID: 70798

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: STRENGTH THROUGH JOY

Work ID: 70809

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: The Ajax dwellers

Work ID: 70811

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: La Guardia

Work ID: 70802

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: The Last Pony

Work ID: 70813

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: Thanjavur

Work ID: 70810

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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Cache-misère: AB

Work ID: 70796

Description: Cache-misère translates into English as 'band-aid solution,' and refers to a coat worn to hide shabby attire.

Cache-misère is the title of a series of colour photographs on which we paint images, text and swatches of colour. Our photographs and painted images record places, events and objects we come across in the course of our daily activities. The photographs are compositionally completed by the addition of painted elements that, to varying degrees, obscure the underlying picture. The painted images most often represent domestic bric-a-brac painted either from observation in the manner of a traditional still life or copied from illustrations. Our painted photographs are no longer seamless windows onto reality, but assume a new logic where any editorial narrative is complemented by the associative synergy found in abstract painting.

Measurements: 50.8 x 76.3 cm

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