Base de données du CACC sur l'art canadien

Lakeshore: BATH

Artist: John Armstrong & Paul Collins

Work ID: 52733

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

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Oeuvre d'art par John Armstrong & Paul Collins

keys / clefs

keys / clefs

Artist: John Armstrong & Paul Collins

ID : 52683

Description: From the series, Jim →. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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word / mot

word / mot

Artist: John Armstrong & Paul Collins

ID : 52715

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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character / caractère

character / caractère

Artist: John Armstrong & Paul Collins

ID : 52714

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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toilet / w.c.

toilet / w.c.

Artist: John Armstrong & Paul Collins

ID : 52711

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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musical instrument / instrument de musique

musical instrument / instrument de musique

Artist: John Armstrong & Paul Collins

ID : 52709

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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painted sky / ciel peint

painted sky / ciel peint

Artist: John Armstrong & Paul Collins

ID : 52708

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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mustard pot / pot de moutarde

mustard pot / pot de moutarde

Artist: John Armstrong & Paul Collins

ID : 52682

Description: From the series, Jim ¡ú. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim (pronounced in a bilingual, "Jim, that way, par l¨¤"). This references the graffiti scratched into the gravestones of P¨¨re-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/¨¦preuves : 27.94 x 35.56 cm

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hat / chapeau

hat / chapeau

Artist: John Armstrong & Paul Collins

ID : 52707

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Lucy Hogg

Lucy Hogg

Artist: John Armstrong & Paul Collins

ID : 52724

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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George Seurat

George Seurat

Artist: John Armstrong & Paul Collins

ID : 52701

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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clock / horlorge

clock / horlorge

Artist: John Armstrong & Paul Collins

ID : 52702

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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Sorel Etrog

Sorel Etrog

Artist: John Armstrong & Paul Collins

ID : 52689

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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flower / fleur

flower / fleur

Artist: John Armstrong & Paul Collins

ID : 52691

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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florist / fleuriste

florist / fleuriste

Artist: John Armstrong & Paul Collins

ID : 52718

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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directional indicator / panneau indicateur

directional indicator / panneau indicateur

Artist: John Armstrong & Paul Collins

ID : 52719

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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cemetery / cimetière

cemetery / cimetière

Artist: John Armstrong & Paul Collins

ID : 52684

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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editorial cartoon / dessin politique

editorial cartoon / dessin politique

Artist: John Armstrong & Paul Collins

ID : 52704

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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travel advertisement / publicité touristique

travel advertisement / publicité touristique

Artist: John Armstrong & Paul Collins

ID : 52721

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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boss / patron

boss / patron

Artist: John Armstrong & Paul Collins

ID : 52694

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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rad / radiateur

rad / radiateur

Artist: John Armstrong & Paul Collins

ID : 52705

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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record / enregistrement

record / enregistrement

Artist: John Armstrong & Paul Collins

ID : 52703

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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art dealer / galeriste

art dealer / galeriste

Artist: John Armstrong & Paul Collins

ID : 52696

Description: From the series, Jim →. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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hand / main

hand / main

Artist: John Armstrong & Paul Collins

ID : 52686

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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cloth / tissu

cloth / tissu

Artist: John Armstrong & Paul Collins

ID : 52692

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

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phrase

phrase

Artist: John Armstrong & Paul Collins

ID : 52716

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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Jean-Paul Riopelle

Jean-Paul Riopelle

Artist: John Armstrong & Paul Collins

ID : 52710

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

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Date de réalisation : 2002

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arts administrator / administrateur d’art

arts administrator / administrateur d’art

Artist: John Armstrong & Paul Collins

ID : 52722

Description: From the series, Jim ¡ú. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim ¡ú (pronounced in a bilingual, "Jim, that way, par l¨¤"). This references the graffiti scratched into the gravestones of P¨¨re-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/¨¦preuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

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hammer / marteau

hammer / marteau

Artist: John Armstrong & Paul Collins

ID : 52688

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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fish / poisson

fish / poisson

Artist: John Armstrong & Paul Collins

ID : 52695

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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floor / sol

floor / sol

Artist: John Armstrong & Paul Collins

ID : 52697

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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tree / arbre

tree / arbre

Artist: John Armstrong & Paul Collins

ID : 52698

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

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garbage can / poubelle

garbage can / poubelle

Artist: John Armstrong & Paul Collins

ID : 52699

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

Collection virtuelle :

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water / eau

water / eau

Artist: John Armstrong & Paul Collins

ID : 52723

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

Collection virtuelle :

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newscast / les infos

newscast / les infos

Artist: John Armstrong & Paul Collins

ID : 52690

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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chair / chaise

chair / chaise

Artist: John Armstrong & Paul Collins

ID : 52687

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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colleague / collègue

colleague / collègue

Artist: John Armstrong & Paul Collins

ID : 52706

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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view of Canada / vue du Canada

view of Canada / vue du Canada

Artist: John Armstrong & Paul Collins

ID : 52729

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

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view of France / vue de la France

view of France / vue de la France

Artist: John Armstrong & Paul Collins

ID : 52728

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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critic / critique

critic / critique

Artist: John Armstrong & Paul Collins

ID : 52727

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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sujet libre

sujet libre

Artist: John Armstrong & Paul Collins

ID : 52726

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

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poet / poète

poet / poète

Artist: John Armstrong & Paul Collins

ID : 52725

Description: From the series, Jim -->. Through a series of 98 paired photographs, Paul Collins and John Armstrong set out to explore the blurred edges of North American and European culture, of the familiar and the exotic, of our shared and individual experiences. The title of our project is Jim --> (pronounced in a bilingual, "Jim, that way, par là"). This references the graffiti scratched into the gravestones of Père-Lachaise cemetery in Paris, pointing the way to Jim Morrison's tomb.

Armstrong and Collins initially drew up a list of 49 words to serve as the 49 subjects of a series of photographs. Armstrong would shoot in Canada, and Collins in France, where he has been living these past 20 years. The resulting images were brought together, presenting two points of view of the same subject.

Some of the subjects relate to motifs in our individual art practices; some are shared banalities and enthusiasms; others are figures that populate the professional life of an artist. The paired images playfully act as indicators of a specific moment or place. The viewer is naturally drawn into a guessing game, trying to identify the settings or locations pictured: Canada or France? Paris or Toronto? John or Paul?

Des mesures : 124.46 prints/épreuves : 27.94 x 35.56 cm

Collection:

Date de réalisation : 2002

Matériaux :

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Lakeshore:  M Wintrob & Sons

Lakeshore: M Wintrob & Sons

Artist: John Armstrong & Paul Collins

ID : 52738

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

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Lakeshore:  BATH

Lakeshore: BATH

Artist: John Armstrong & Paul Collins

ID : 52733

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  Kenya

Lakeshore: Kenya

Artist: John Armstrong & Paul Collins

ID : 52736

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  I don’t buy it

Lakeshore: I don’t buy it

Artist: John Armstrong & Paul Collins

ID : 52735

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  What is the matter

Lakeshore: What is the matter

Artist: John Armstrong & Paul Collins

ID : 52754

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Look-out

Lakeshore: Look-out

Artist: John Armstrong & Paul Collins

ID : 52737

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Smiths

Lakeshore: Smiths

Artist: John Armstrong & Paul Collins

ID : 52751

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  hotel

Lakeshore: hotel

Artist: John Armstrong & Paul Collins

ID : 52734

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  TASCHEN

Lakeshore: TASCHEN

Artist: John Armstrong & Paul Collins

ID : 52752

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Baghdad begins

Lakeshore: Baghdad begins

Artist: John Armstrong & Paul Collins

ID : 52732

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Aurora Dixie Cup

Lakeshore: Aurora Dixie Cup

Artist: John Armstrong & Paul Collins

ID : 52731

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Niagara Falls STEP

Lakeshore: Niagara Falls STEP

Artist: John Armstrong & Paul Collins

ID : 52742

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

Ajouter à la liste

Lakeshore:  Niagara Falls SLOWLY

Lakeshore: Niagara Falls SLOWLY

Artist: John Armstrong & Paul Collins

ID : 52744

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  more Lebensraum

Lakeshore: more Lebensraum

Artist: John Armstrong & Paul Collins

ID : 52740

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  mors ultima ratio

Lakeshore: mors ultima ratio

Artist: John Armstrong & Paul Collins

ID : 52741

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  WORLD TRADE CENTRE

Lakeshore: WORLD TRADE CENTRE

Artist: John Armstrong & Paul Collins

ID : 52755

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Lakeshore:  perçu directement par le personnel

Lakeshore: perçu directement par le personnel

Artist: John Armstrong & Paul Collins

ID : 52747

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2002-04

Matériaux :

Collection virtuelle :

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Niagara Falls (STEP)

Niagara Falls (STEP)

Artist: John Armstrong & Paul Collins

ID : 60746

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 93.98 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

Ajouter à la liste

Niagara Falls (SLOWLY)

Niagara Falls (SLOWLY)

Artist: John Armstrong & Paul Collins

ID : 60744

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 88.9 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

Ajouter à la liste

MIND YOUR HEAD

MIND YOUR HEAD

Artist: John Armstrong & Paul Collins

ID : 60741

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 81.28 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

Ajouter à la liste

khakireshaped

khakireshaped

Artist: John Armstrong & Paul Collins

ID : 60743

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 86.36 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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I can’t get no representation

I can’t get no representation

Artist: John Armstrong & Paul Collins

ID : 60732

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 58.42 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

Ajouter à la liste

Niagara Falls (BY STEP)

Niagara Falls (BY STEP)

Artist: John Armstrong & Paul Collins

ID : 60747

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 96.52 x 76.2 cm

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Date de réalisation : 2005

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to my graduate student

to my graduate student

Artist: John Armstrong & Paul Collins

ID : 60730

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 53.34 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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This Area is Alarmed

This Area is Alarmed

Artist: John Armstrong & Paul Collins

ID : 60738

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 73.66 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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pas convaincu

pas convaincu

Artist: John Armstrong & Paul Collins

ID : 60734

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 63.5 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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forget about amerika

forget about amerika

Artist: John Armstrong & Paul Collins

ID : 60736

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 68.58 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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red wine glass

red wine glass

Artist: John Armstrong & Paul Collins

ID : 60740

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 78.74 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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armée du salut

armée du salut

Artist: John Armstrong & Paul Collins

ID : 60733

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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Grumble

Grumble

Artist: John Armstrong & Paul Collins

ID : 60739

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop to our work. Lakeshore also signifies an intermediary state, a space between two bodies, a space that has three possible reference points: a vanishing vista, a point of possible departure, a destination at the end of a voyage.

We have used the idea of lakeshore in a figurative and personal manner. Although some of the photographs do depict lakeshores, most have to do with our routine comings and goings, artistic and quotidian. The photographs are set in both rural and urban locations. We pointedly have not represented any lakes: this reinforces our metaphorical focus (and eases our task, as France has very few lakes). Our painted text passages are idiomatic and common expressions, maxims, and phrases from popular culture. The painted words do not serve as captions for the images, but rather further our exploration of the metaphorical idea of a lakeshore. The images painted on the photographs are of glasses, pails and basins of water, and offer the only explicit bodies of water in the artworks. The addition of the painted elements to the photographs creates a flicker effect between literal and figurative meaning, a semantic instability and indeterminacy.

By blue Ontario's shore,
As I mused of these warlike days and of peace return'd,
and the dead that return no more,
I listened to the Phantom by Ontario's shore,
I heard the voice arising demanding bards.

Underneath the lessons of things, spirits, Nature, governments, ownership,
I swear I perceive other lessons.

Walt Whitman, By Blue Ontario's Shore, 1856

Lakeshore has a second component: one hundred one- or two-paragraph texts on the theme of lakeshore that accompany an exhibition of the actual photographs in the form of a PowerPoint Show set on a continuous loop to be exhibited on a computer screen.

Lakeshore's exhibition schedule is as follows: L'Hôtel Galerie d'Art, Caen, France, March 2003; Truck, Calgary, November 2004; Platform, Winnipeg, January 2005; Robert Birch Gallery, Toronto, May 2005. This project is ongoing.

Des mesures : 76.2 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

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red green yellow

red green yellow

Artist: John Armstrong & Paul Collins

ID : 60729

Description: Lakeshore consists of an ongoing series of one hundred 50 x 75-cm colour photographs with short texts or images painted on them in oils. The photographs serve as supports for the painting, and depict landscape, architecture and a variety of other subjects. The texts are predominantly in either English or French (as well as in German and Latin), and all the photographs are taken in Canada, France, Germany or Kenya. The painted texts recall the traditional role that captions play in the interpretation of photographs, used traditionally to direct the viewer to a specific message conveyed by the photograph. In this work, we are attempting to upend, extend and imbricate some of the conventions in painting, photography and language.

For us, lakeshore refers to Ontario's myriad lakes in Ontario, and most immediately to Lake Ontario, the lake we both grew up beside. These lakes have served as motifs for important streams in nineteenth- and twentieth-century Canadian art; and, this is a backdrop t

Des mesures : 50.8 x 76.2 cm

Collection:

Date de réalisation : 2005

Matériaux :

Collection virtuelle :

Ajouter à la liste

John Armstrong & Paul Collins

John Armstrong & Paul Collins

Artist: John Armstrong & Paul Collins

ID : 53087

Description:

Des mesures :

Collection:

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