Base de données du CACC sur l'art canadien

Barbara Astman

Barbara Astman

Barbara Astman RCA est l'une des artistes les plus acclamées au Canada. Son travail a reçu une reconnaissance nationale et internationale. Depuis les années 1970, elle explore un large éventail de techniques photographiques et mixtes. Son travail est représenté dans de nombreuses collections muséales, corporatives et privées, au Canada, aux États-Unis et en Europe. Astman est diplômé du Rochester Institute of Technology, de la School for American Craftsmen et de l'Ontario College of Art. Actif dans la communauté artistique de Toronto, Astman a siégé à de nombreux conseils d'administration et comités consultatifs. Actuellement, elle est membre du conseil d'administration du Musée des beaux-arts de l'Ontario et travaille comme professeur à la Faculté des arts de l'Ontario College of Art & Design. En 2011, elle a été nommée au comité de conservation canadien de l'AGO. En 1995, la Art Gallery of Hamilton a organisé une importante exposition rétrospective itinérante, Barbara Astman - Personal/Persona - A 20 Year Survey, organisée par Liz Wylie. Elle est représentée par la Corkin Gallery, Toronto. Astman a reçu des commandes pour des projets d'art public à partir du milieu des années quatre-vingt. En 1987, elle a réalisé une installation au sol pour les Jeux olympiques d'hiver de Calgary. En 2005, elle a réalisé une installation d'art public pour la nouvelle ambassade du Canada à Berlin, en Allemagne. Plus récemment, elle a réalisé un projet d'art public à Toronto, le Murano on Bay, composé de 217 fenêtres avec des images photographiques. En 2008, Astman et Georgiana Uhlyarik, conservatrice adjointe d'AGO, ont collaboré à un projet de commissariat pour l'exposition Transformation AGO, traitant de Joyce Wieland et des premières pratiques féministes. Le travail photographique d'Astman a été inclus dans l'exposition AGO intitulée : Beautiful Fiction, automne 2009. En mai 2011, sa récente installation, danse avec le che : entrez par la boutique de cadeaux, ouvert à la Kelowna Art Galley. Sa plus récente exposition personnelle, Daily Collage, a été inaugurée à la Corkin Gallery à l'automne 2011. © Galerie d'art de Hamilton, 1995 Conservatrice : Liz Wylie.
Creator Id: 31
Social Media Link: Social Media Link
Web Site Link: Web Site Link
Collection virtuelle : Original CCCA
Country of Birth: USA
Province of Birth: New York
Year of Birth: 1950
Ville : Toronto
Pays : Canada
Type of Creator: Artiste
Genre : Female
Médiums : la photographie, sculpture
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Oeuvre d'art par Barbara Astman

Strawberry Cherry Queen

ID : 2474

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Bert and George in the living room

ID : 2475

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On Tour with Myra

ID : 2478

Des mesures : approx. 101.6 x 152.4 cm

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On Tour with Myra (detail)

ID : 2479

Des mesures : approx. 101.6 x 152.4 cm

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Untitled

ID : 2476

Des mesures : 20.32 x 25.4 cm

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Connie and the Flowering Annuals

ID : 2477

Des mesures : approx. 101.6 x 152.4 cm

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Untitled (Visual Narrative Series, 1 of 2)

ID : 2480

Des mesures : approx. 121.92 x 152.4 cm

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Untitled (Visual Narrative Series 2 of 2)

ID : 2481

Des mesures : approx. 121.92 x 152.4 cm

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Untitled (Untitled, I was thinking about you…, 1 of 8)

ID : 257

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 3 of 8)

ID : 2427

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 5 of 8)

ID : 2429

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 7 of 8)

ID : 2431

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 6 of 8)

ID : 2430

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 2 of 8)

ID : 2426

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 8 of 8)

ID : 2432

Des mesures : 152.4 x 121.92 cm

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Untitled (Untitled, I was thinking about you…, 4 of 8)

ID : 2428

Des mesures : 152.4 x 121.92 cm

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Untitled (The Red Series, 8 of 9)

ID : 2439

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 6 of 9)

ID : 2437

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 2 of 9)

ID : 2433

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 4 of 9)

ID : 2435

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 3 of 9)

ID : 2434

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 1 of 9)

ID : 256

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 7 of 9)

ID : 2438

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 5 of 9)

ID : 2436

Des mesures : 121.92 x 121.92 cm

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Untitled (The Red Series, 9 of 9)

ID : 2440

Des mesures : 121.92 x 121.92 cm

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teaneck recroom neckroom (Places Series)

ID : 2482

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l’atrio di sicilia (Places Series)

ID : 2487

Des mesures : 30.48 x 91.44 x 30.48 cm

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cottage country (Places Series)

ID : 2483

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antwerp by starlight (Places Series)

ID : 2488

Des mesures : 30.48 x 121.92 x 30.48 cm

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mother’s kitchen (Places Series)

ID : 2486

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bedroom badroom recroom (Places Series)

ID : 2484

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lower level living (Places Series)

ID : 2485

Des mesures : 20.32 x 121.92 x 22.86 cm

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walking the flowered maze (Places Series)

ID : 2489

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untitled (Settings for Situations, 5 of 8)

ID : 2494

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untitled (Settings for Situations, 8 of 8)

ID : 2497

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untitled (Settings for Situations, 2 of 8)

ID : 2491

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untitled (Settings for Situations, 6 of 8)

ID : 2495

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Stepping Past Pleasurable Objects, Waiting for the Cool, Blue You (Settings for Situations, 1 of 8)

ID : 2490

Des mesures : 89.916 x 340.106 x 184.912 cm

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untitled (Settings for Situations, 3 of 8)

ID : 2492

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untitled (Settings for Situations, 7 of 8)

ID : 2496

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untitled (Settings for Situations, 4 of 8)

ID : 2493

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Untitled (Travelogue Series, 7 of 8)

ID : 2447

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 8 of 8)

ID : 2448

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 1 of 8)

ID : 255

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 2 of 8)

ID : 2441

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 6 of 8)

ID : 2446

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 5 of 8)

ID : 2444

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 4 of 8)

ID : 2443

Des mesures : 121.92 x 121.92 cm

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Untitled (Travelogue Series, 3 of 8)

ID : 2442

Des mesures : 121.92 x 121.92 cm

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Olympic Speed Skating Floor

ID : 54031

Description: Calgary Winter Olympics '88, I designed and installed a 1,300 square ft. inlaid floor created for the Olympic Speed Skating Oval. The material used was Marmoleum which was cut and inlaid as a mosaic. The building had been designed but not yet completed prior to the art competition. The art floor leads into the 4,000 seating area for the spectators during events. The floor had to withstand a heavy traffic flow and all of the technical rigours of a public use floor, while maintaining an aesthetic and conceptual rigour. The design of the floor echos a heroic entrance and plays with perspective. It is contemporary yet maintains a sense of history throughout the design.

Des mesures : 1,300 square feet.

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Untitled (Curtain Series, 2 of 6)

ID : 2449

Des mesures : 91.44 x 274.32 cm

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Untitled (Curtain Series, 5 of 6)

ID : 2453

Des mesures : 91.44 x 274.32 cm

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Untitled (Curtain Series, 1 of 6)

ID : 254

Des mesures : 91.44 x 274.32 cm

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Untitled (Curtain Series, 6 of 6)

ID : 2454

Des mesures : 91.44 x 274.32 cm

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Untitled (Curtain Series, 3 of 6)

ID : 2450

Des mesures : 91.44 x 274.32 cm

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Untitled (Curtain Series, 4 of 6)

ID : 2451

Des mesures : 91.44 x 274.32 cm

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Untitled (The Fruit Series, 5 of 12)

ID : 2459

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 9 of 12)

ID : 2463

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 12 of 12)

ID : 2467

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 1 of 12)

ID : 253

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 8 of 12)

ID : 2462

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 2 of 12)

ID : 2455

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 4 of 12)

ID : 2458

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 3 of 12)

ID : 2456

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 6 of 12)

ID : 2460

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 7 of 12)

ID : 2461

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 11 of 12)

ID : 2465

Des mesures : 121.92 x 121.92 cm

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Untitled (The Fruit Series, 10 of 12)

ID : 2464

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 10 of 12)

ID : 2507

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 8 of 12)

ID : 2505

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 12 of 12)

ID : 2509

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 2 of 12)

ID : 2499

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 11 of 12)

ID : 2508

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 9 of 12)

ID : 2506

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 7 of 12)

ID : 2504

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 3 of 12)

ID : 2500

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 1 of 12)

ID : 2498

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 6 of 12)

ID : 2503

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 4 of 12)

ID : 2501

Des mesures : 121.92 x 121.92 cm

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Untitled (The Rock Series, 5 of 12)

ID : 2502

Des mesures : 121.92 x 121.92 cm

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Aurorea, Simcoe Place Public Art Project

ID : 54033

Description: Aurorea, Simcoe Place Public Art Project, Cadillac Fairview Corporation, Toronto, Ontario. This is an integrated art and architecture project which is comprised of fourteen glass lites which have been sandblasted to create the feeling of an aura borealis. The glass windows face out onto a shopping concourse. Six of the fourteen windows are 3 x 8 ft. and the rest are 6 x 8 ft.

Des mesures : 6, 0.1044 x 0.2784 m; 8, 0.2088 x 0.2784 m

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Aurorea, Simcoe Place Public Art Project

ID : 54032

Description: Aurorea, Simcoe Place Public Art Project, Cadillac Fairview Corporation, Toronto, Ontario. This is an integrated art and architecture project which is comprised of fourteen glass lites which have been sandblasted to create the feeling of an aura borealis. The glass windows face out onto a shopping concourse. Six of the fourteen windows are 3 x 8 ft. and the rest are 6 x 8 ft.

Des mesures : 6, 0.1044 x 0.2784 m; 8, 0.2088 x 0.2784 m

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Ground Cover, Bay/Hayter Public Art Project

ID : 54030

Description: Ground Cover, Bay/Hayter Public Art Project, Hayter Developments, Toronto, Ontario. In this integrated art/architecture project, I designed the sidewalks that surround the developers building on the front (east) and south sides of the building. Each of the five, 20 x 20 in. concrete pavers has a different leaf pattern image on it that was based on the landscape designers planting proposal. The actual leaves were utilized to make the plugs which were used too make the molds. I had the concrete custom designed in terms of colour and texture and then the pavers were hand poured. The surface of the concrete was then acid etched to reveal the colour, texture and sparkle. The resulting pavers appear as though they were fossils. Both entrances to the building have a sandblasted leaf pattern on the glass to continue the image up the walls.

Des mesures : 5, 50.8 x 50.8 cm concrete pavers

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Untitled (Tuscan Landscape Series, 3 of 7)

ID : 2512

Des mesures : 109.22 x 67.31 cm

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Untitled (Tuscan Landscape Series, 4 of 7)

ID : 2513

Des mesures : 109.22 x 67.31 cm

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Untitled (Tuscan Landscape Series, 6 of 7)

ID : 2515

Des mesures : 109.22 x 67.31 cm

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Untitled (Tuscan Landscape Series, 2 of 7)

ID : 2511

Des mesures : 109.22 x 67.31 cm

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Untitled (Seeing and Being Seen Series, 9 of 10)

ID : 2471

Des mesures : 106.68 x 243.84 cm

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Untitled (Tuscan Landscape Series, 1 of 7)

ID : 2510

Des mesures : 109.22 x 67.31 cm

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Untitled (Seeing and Being Seen Series, 3 of 10)

ID : 250

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 10 of 10)

ID : 2472

Des mesures : 106.68 x 243.84 cm

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Untitled (Tuscan Landscape Series, 7 of 7)

ID : 2516

Des mesures : 109.22 x 67.31 cm

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Untitled (Seeing and Being Seen Series, 4 of 10)

ID : 251

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 8 of 10)

ID : 2470

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 7 of 10)

ID : 2469

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 6 of 10)

ID : 2468

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 2 of 10)

ID : 249

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 5 of 10)

ID : 252

Des mesures : 106.68 x 243.84 cm

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Untitled (Seeing and Being Seen Series, 1 of 10)

ID : 248

Des mesures : 106.68 x 243.84 cm

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Untitled (Tuscan Landscape Series, 5 of 7)

ID : 2514

Des mesures : 109.22 x 67.31 cm

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Untitled (Sidewalk Landscape Series, 4 of 4)

ID : 2520

Des mesures : 76.2 x 50.8 cm

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Tribute

ID : 54027

Description: Simcoe Place Public Art Project, Cadillac Fairview Corporation, Toronto, Ontario. I have completed a freestanding sandblasted glass sculpture that recognizes those who contributed towards the excellence of Simcoe Place. The piece incorporates five freestanding, 1 x 36 x 96 in. glass panels which have text sandblasted on one side and abstracted photographic images sandblasted on the opposite side. The photographic images depict the actual construction process of Simcoe Place.

Des mesures : 5, 2.54 x 91.44 x 243.84 cm glass panels

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Untitled (Sidewalk Landscape Series, 2 of 4)

ID : 2518

Des mesures : 76.2 x 50.8 cm

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Untitled (Sidewalk Landscape Series, 3 of 4)

ID : 2519

Des mesures : 76.2 x 50.8 cm

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Untitled (Sidewalk Landscape Series, 1 of 4)

ID : 2517

Des mesures : 76.2 x 50.8 cm

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Untitled (‘Scenes for a movie for one’ Series, 4 of 8)

ID : 2524

Des mesures : 50.8 x 60.96 cm

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untitled (from: thirty-two frames from scenes for a movie for one, 3 of 3)

ID : 2535

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thirty-two frames from scenes for a movie for one, #1

ID : 2529

Des mesures : 34.29 x 77.47 cm

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thirty-two frames from scenes for a movie for one, #4

ID : 2532

Des mesures : 34.29 x 77.47 cm

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Untitled (‘Scenes for a movie for one’ Series, 2 of 8)

ID : 2522

Des mesures : 50.8 x 60.96 cm

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thirty-two frames from scenes for a movie for one, #3c

ID : 2531

Des mesures : 34.29 x 77.47 cm

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Untitled (‘Scenes for a movie for one’ Series, 7 of 8)

ID : 2527

Des mesures : 50.8 x 60.96 cm

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Untitled (‘Scenes for a movie for one’ Series, 6 of 8)

ID : 2526

Des mesures : 50.8 x 60.96 cm

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Untitled (‘Scenes for a movie for one’ Series, 1 of 8)

ID : 2521

Des mesures : 50.8 x 60.96 cm

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Untitled (‘Scenes for a movie for one’ Series, 5 of 8)

ID : 2525

Des mesures : 50.8 x 60.96 cm

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untitled (from: thirty-two frames from scenes for a movie for one, 1 of 3)

ID : 2533

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thirty-two frames from scenes for a movie for one, #2c

ID : 2530

Des mesures : 34.29 x 77.47 cm

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Untitled (‘Scenes for a movie for one’ Series, 3 of 8)

ID : 2523

Des mesures : 50.8 x 60.96 cm

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Untitled (‘Scenes for a movie for one’ Series, 8 of 8)

ID : 2528

Des mesures : 50.8 x 60.96 cm

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untitled (from: thirty-two frames from scenes for a movie for one, 2 of 3)

ID : 2534

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study for Dreaming Impressionism, 12 of 15

ID : 2547

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study for Dreaming Impressionism, 6 of 15

ID : 2541

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study for Dreaming Impressionism, 1 of 15

ID : 2536

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study for Dreaming Impressionism, 3 of 15

ID : 2538

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study for Dreaming Impressionism, 4 of 15

ID : 2539

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study for Dreaming Impressionism, 11 of 15

ID : 2546

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study for Dreaming Impressionism, 2 of 15

ID : 2537

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study for Dreaming Impressionism, 10 of 15

ID : 2545

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study for Dreaming Impressionism, 13 of 15

ID : 2548

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study for Dreaming Impressionism, 15 of 15

ID : 2550

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study for Dreaming Impressionism, 14 of 15

ID : 2549

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study for Dreaming Impressionism, 7 of 15

ID : 2542

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study for Dreaming Impressionism, 9 of 15

ID : 2544

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study for Dreaming Impressionism, 8 of 15

ID : 2543

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study for Dreaming Impressionism, 5 of 15

ID : 2540

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Baycrest Portal Project

ID : 54028

Description: The Portal Project, Baycrest Centre for Geriatric Care, Toronto, Ontario. This integrated art and architecture project involves designing entrances to the home units. The objective of the project is to give each home unit its own identity, a distinguishable marker to help the client know that they are home. I was awarded two of the portals and have designed two distinct images. Each image was reproduced twelve times and then installed at the appropriate portal on each of the six floors of the building. The image covers both sides of the portal and the ceiling area directly between them will be painted with a specific colour. The photo-murals were digitally produced on a wallpaper type material which was adhered directly to the given walls. The scale of each portal wall image is four feet by eight feet. Installation was completed in January, 2000.

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Paris Postcards: #11, Vichy

ID : 23414

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Paris Postcards: #1, San Sebastian

ID : 23404

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Paris Postcards: #4, Cubaz-les-Ponts

ID : 23407

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Paris Postcards: #2, Avachon

ID : 23405

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Paris Postcards: #13, Krainshade

ID : 23416

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Paris Postcards: #16, Heinsberg

ID : 23419

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Paris Postcards: #7, San Sebastian

ID : 23410

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Paris Postcards: #10, Chateau de Juzet

ID : 23413

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Paris Postcards: #6, Cambridge

ID : 23409

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Paris Postcards: #8, Vichy-le-sport

ID : 23411

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Paris Postcards: #12, Bruxelles

ID : 23415

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Paris Postcards: #17, Hardenburg mit Ruine

ID : 23420

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Paris Postcards: #15, South Bridge

ID : 23418

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Paris Postcards: #14, Hohensyburg

ID : 23417

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Paris Postcards: #5, Ile Saint-Honorat

ID : 23408

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Paris Postcards: #9, Gdynia

ID : 23412

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Paris Postcards: #3, Saint-Jean-de-Luz

ID : 23406

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Wolfond Windows, University of Toronto

ID : 54034

Description: Centre For Jewish Campus Life, University of Toronto, Toronto, Ontario. In collaboration with Susan Friedrich Architect Inc., this integrated art and architecture project involves the designing of a building for the Jewish Campus Services. My main role has been to design the etched glass windows which encompass the spiritual room and act as a signifier for the identity of the building situated in this neighbourhood. Completion date: Spring 2004.

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Wolfond Windows, University of Toronto

ID : 54035

Description: Centre For Jewish Campus Life, University of Toronto, Toronto, Ontario. In collaboration with Susan Friedrich Architect Inc., this integrated art and architecture project involves the designing of a building for the Jewish Campus Services. My main role has been to design the etched glass windows which encompass the spiritual room and act as a signifier for the identity of the building situated in this neighbourhood. Completion date: Spring 2004.

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dancing with che #26

ID : 54019

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #12

ID : 54007

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #15

ID : 54010

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #13

ID : 54008

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #23

ID : 54018

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #20

ID : 54015

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #17

ID : 54012

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #27

ID : 54020

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #6

ID : 54001

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #2

ID : 53997

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #9

ID : 54004

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #16

ID : 54011

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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Dancing With Che, installation view

ID : 53995

Description: From the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

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dancing with che #19

ID : 54014

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #4

ID : 53999

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #1

ID : 53996

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #14

ID : 54009

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #8

ID : 54003

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #21

ID : 54016

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #18

ID : 54013

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #29

ID : 54022

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #22

ID : 54017

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #11

ID : 54006

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #10

ID : 54005

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #7

ID : 54002

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #5

ID : 54000

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #3

ID : 53998

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #33

ID : 54026

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #32

ID : 54025

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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dancing with che #31

ID : 54024

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

Collection:

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dancing with che #30

ID : 54023

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

Collection:

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dancing with che #28

ID : 54021

Description: from the series, Dancing with Che.

The most recent body of work, Dancing with Che, evolved out of a brief visit to Havana, where images of the revolutionary leader, Che Guevara, appear everywhere, from public art, fridge magnets, coffee mugs to key chains. I became interested in his image and the issues surrounding this historical figure viewed as a pop culture icon. This series also developed out of the complexity of experiencing a foreign culture, while being acutely aware of existing outside of that culture. I was attracted to the rhythms, sounds of the street and sensuousness and spirit of the people. It is in this spirit that I have used my body to animate Che, to re-create what I felt and experienced while there. There are thirty-one murals in the series, which create a rhythm when viewed sequentially. The three-foot square digital images were specifically printed at this scale to present Che as larger than life. It is with humour and affection rather than any political agenda, that I present this private performance for the camera where Che became my dance partner.

Des mesures : 91.44 x 91.44 cm

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Berlin Weather Windows

ID : 54029

Description: Canadian Embassy in Berlin, Government of Canada. I have recently been selected for a public art project at the new Canadian Embassy in Berlin, Germany. My ideas are based on weather as a national identity factor. I have designed an image, which will be applied with a frit on clear glass panels, forming a curved wall surrounding the Great Timber Hall. Completion date: Winter 2004-2005.

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Clementine, Part I[detail]

ID : 53988

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part I[installation view]

ID : 53991

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part I[detail]

ID : 53990

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part I[detail]

ID : 53989

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part I[detail]

ID : 53987

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part I[detail]

ID : 53992

Description: installation: Art Gallery of Windsor, Windsor, Ontario

Des mesures : aprox. 0.8352 x 0.2784 m

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Clementine, Part II[detail – light]

ID : 53993

Des mesures : variable

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Clementine, Part II[detail]

ID : 53994

Des mesures : variable

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The Newspaper Series: bluecomic

ID : 72543

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: esperanza

ID : 72544

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: furworks

ID : 72545

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: bestmusical

ID : 72548

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: wicked

ID : 72553

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: installation view, right wall

ID : 72539

Description: Corkin Gallery, Toronto, March 31-April 26, 2007.

The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

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The Newspaper Series: yakuzathugs

ID : 72541

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: highstyle

ID : 72546

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: blackabby

ID : 72542

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: rollover

ID : 72552

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: pinkhand

ID : 72550

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: monster

ID : 72547

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 66.04 x 114.3 cm unique

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The Newspaper Series: yakuzathugs

ID : 72554

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: red

ID : 72551

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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The Newspaper Series: installation view, left wall

ID : 72540

Description: Corkin Gallery, Toronto, March 31-April 26, 2007.

The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

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The Newspaper Series: pinkdot

ID : 72549

Description: The Newspaper Series works present images of many year's worth of daily newspapers which the artist has collected. This body of work deals with a fascination veering towards obsession with mass media communication and its influence on reality, memory and history. Seen from a distance, the individual strips resemble strips of human DNA. On closer examination, Astman has deliberately chosen to highlight, through the folding and marking of certain pages, stories of tragedy, scandal, triumph and everyday life. As the artist notes, her images play on our obsession with media and the contradictory aspects of newspapers as vehicles of compromised communication.

Des mesures : 43.18 x 289.56 cm

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Wonderland 08

ID : 72560

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 13

ID : 72563

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 10

ID : 72561

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 18

ID : 72567

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 21

ID : 72569

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 22

ID : 72570

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 19

ID : 72568

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 23

ID : 72571

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 04

ID : 72556

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 15

ID : 72564

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 12

ID : 72562

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Wonderland 16

ID : 72565

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 07

ID : 72559

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 17

ID : 72566

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Wonderland 06

ID : 72558

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Wonderland 05

ID : 72557

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Wonderland 26

ID : 72574

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Wonderland 24

ID : 72572

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

Collection:

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Matériaux :

Collection virtuelle :

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Wonderland 25

ID : 72573

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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Wonderland 03

ID : 72555

Description: There are endless possibilities for narratives within found objects. Astman is fascinated with postcards acting as syntheses between personal memories and a constructed reality. In On Photography, Susan Sontag speaks of motives of collecting images from which stories flourish: "To collect photographs is to collect the world. Movie and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store". Postcards represent a quintessential moment where photography becomes object.

Using digital techniques to position the postcards within negative space, Astman captures the feeling of flipping through stacks; harnessing a tension between motion and stillness. The body of work is about the relationship between the real and the artificial, and how experience can occur through artificial representation of the real.

The idea of collecting is significant, as a collection is a form of record in one's life. As a child, postcards and encyclopedias made Astman realize there was a larger world outside of her neighborhood. She would stare at the postcard long enough to imagine herself being there, preferring the postcard version of reality. Astman is most interested in the postcards that represent a naive world void of worldly problems.

Pre-digital postcards present an intersection of photography, printmaking, drawing and painting with their heavily re-worked and refined imagery. Photographing these postcards re-enforces the multitude of reproductions that make up popular culture, and the complex and involved relationship contemporary culture has with the past.

Des mesures : 109.22 x 109.22 cm on 111.76 cm paper (ed. unique + AP)

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I as artifact [20]

ID : 80359

Description: View the complete series of 20 works: I as artifact

Des mesures : 88.9 x 88.9 cm

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I as artifact [1]

ID : 80357

Description: View the complete series of 20 works: I as artifact

Des mesures : 88.9 x 88.9 cm

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I as artifact [5]

ID : 80399

Description: View the complete series of 20 works: I as artifact

Des mesures : 88.9 x 88.9 cm

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I as artifact [10]

ID : 80398

Description: View the complete series of 20 works: I as artifact

Des mesures : 88.9 x 88.9 cm

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I as artifact , installation view of one wall]

ID : 80360

Description: Exhibition installation at the McIntosh Gallery, Western University, London, Ontario
April 17 – June 7, 2014.

View the complete series of 20 works: I as artifact

Des mesures : each: 88.9 x 88.9 cm

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Daily Collage: Collage 41

ID : 75694

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 07

ID : 75660

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 59

ID : 75712

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 60

ID : 75713

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 35

ID : 75688

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 15

ID : 75668

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 25

ID : 75678

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 09

ID : 75662

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 55

ID : 75708

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 51

ID : 75704

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 04

ID : 75657

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 03

ID : 75656

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 02

ID : 75655

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 33

ID : 75686

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 13

ID : 75666

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 44

ID : 75697

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 57

ID : 75710

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 26

ID : 75679

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 23

ID : 75676

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 36

ID : 75689

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 22

ID : 75675

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 05

ID : 75658

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 48

ID : 75701

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 01

ID : 75654

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 20

ID : 75673

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 27

ID : 75680

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 16

ID : 75669

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 45

ID : 75698

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 28

ID : 75681

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 18

ID : 75671

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 11

ID : 75664

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 31

ID : 75684

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 29

ID : 75682

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 53

ID : 75706

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 30

ID : 75683

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 50

ID : 75703

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 54

ID : 75707

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 21

ID : 75674

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 40

ID : 75693

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 47

ID : 75700

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 10

ID : 75663

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 14

ID : 75667

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 06

ID : 75659

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 08

ID : 75661

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 19

ID : 75672

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 12

ID : 75665

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 24

ID : 75677

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 52

ID : 75705

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 32

ID : 75685

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

Collection:

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Daily Collage: Collage 49

ID : 75702

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 17

ID : 75670

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 58

ID : 75711

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 37

ID : 75690

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 46

ID : 75699

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 56

ID : 75709

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 43

ID : 75696

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 42

ID : 75695

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 38

ID : 75691

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 39

ID : 75692

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Daily Collage: Collage 34

ID : 75687

Description: Daily Collage 2009- 2011.
Collage has continually been a part of my art practice in one form or another. This series developed out of my ongoing habit of reading the daily paper, as interested in the visual imagery as the newsworthy articles. There are obvious links between it and the 2006, Newspaper series. I began saving images, which appeared in the daily papers, and would then collage selections onto pages in a small notebook. I was also thinking about Lenny Bruce and how his stand up comedy performances were like oral jazz with nothing censored, translated or mediated. I was not trying to create logical narratives nor was I commenting on the news of the day. I was just responding to the images in a very direct and impulsive way. This work is more about impulse and intuition; I let others create their own narratives from the resulting images. Intuitive thinking.

Collage as an art practice has been a major influence on my work over the years and I have been particularly inspired by the early collage works of Braque and Picasso, the Russian Constructivists and most importantly the German Dada artist Hannah Hoch.

Des mesures : 109.22 x 86.36 cm

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80364

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80362

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80361

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80365

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80368

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80366

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [Kelowna Art Gallery]

ID : 80367

Description: Kelowna Art Gallery, Kelowna, BC.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [McMaster Museum of Art]

ID : 80370

Description: McMaster Museum of Art, McMaster University, Hamilton, ON.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [McMaster Museum of Art]

ID : 80371

Description: McMaster Museum of Art, McMaster University, Hamilton, ON.

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [McMaster Museum of Art]

ID : 80369

Des mesures : variable

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Dancing with Che: Enter Through the Gift Shop, [McMaster Museum of Art]

ID : 80372

Description: McMaster Museum of Art, McMaster University, Hamilton, ON.

Des mesures : variable

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It’s all about style [40]

ID : 80393

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80379

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80382

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

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It’s all about style [50]

ID : 80394

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80378

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80381

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80384

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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It’s all about style [70]

ID : 80396

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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The Fossil Book

ID : 80388

Description: Koffler Gallery, Toronto.

Des mesures : Over all installation of 1021.08 images, measuring 66.04 ft wide by 236.22 cm high

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80380

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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It’s all about style [30]

ID : 80392

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80385

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80383

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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It’s all about style [60]

ID : 80395

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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It’s all about style [10]

ID : 80390

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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It’s all about style [20]

ID : 80391

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80373

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80377

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

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The Fossil Book

ID : 80386

Description: Koffler Gallery, Toronto.

Des mesures : Over all installation of 1021.08 images, measuring 66.04 ft wide by 236.22 cm high

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80375

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80376

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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Dancing with Che: Enter Through the Gift Shop, [MOCCA, Toronto]

ID : 80374

Description: Museum of Contemporary Canadian Art, Toronto.

Des mesures : variable

Collection:

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The Fossil Book

ID : 80387

Description: Koffler Gallery, Toronto.

Des mesures : Over all installation of 1021.08 images, measuring 66.04 ft wide by 236.22 cm high

Collection:

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It’s all about style [1]

ID : 80389

Description: View the complete series of 76 works: It's all about Style

Des mesures : 55.88 x 76.2 cm

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I as Artifact

ID : 81305

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81304

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81312

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81303

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81309

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81308

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81313

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81314

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81300

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81316

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81317

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81302

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81318

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81311

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81307

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81310

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81301

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81315

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81306

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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I as Artifact

ID : 81299

Des mesures : 88.9 x 88.9 cm (88.9 x 225.806 cm)

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Barbara Astman

Collection:

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