Black pigment type printed direct to substrate with clear coat lacquer
"My work at the moment tends to be half about Canada and half about the near universal early-21st-century interior condition. Again, the Canada thing never started out as a big agenda; it was one experiment that led to another and then another. And yet, when you see the current 2012 pieces in the room together, as with the show at Dan Faria’s gallery, they all communicate clearly with each other and speak the same lingua franca, so there’s something global/generic/international happening there. I think that a relatively visually literate person from any culture could see the body and know that there’s a highly specific point of view happening. As people become more and more addicted to curated novelty (that’s William Gibson’s expression, and a very good one), everyone everywhere wants to see crystallized difference — which is what I think the landscape works very, very definitely are. Work that transcends geography has to start off being grounded in a very specific reality, or within a very specific personality. It’s only at 50 that I’m realizing I’m not a generic Monocle magazine überperson; I have very real problems and issues and psychic deformities and historical blank spots that I’ll never transcend, and that only ever more distinctly brand my work."
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