@SNAP4act Photography Series

I love being able to give through my paintings and photography. One of my favourite ways of doing this is through a photographic event called SNAP in Toronto, presented by TD. The evening consists of both a live auction and a silent auction, and an entire night of tunes, food, drink and mingling. This year there will a drag performance by a RuPaul’s Drag Race superstar – Aquaria!

There are two auctions that take place during the evening – a Curated Live Auction collection and a juried competitive collection – the Silent Auction Collection. The acts of jurying and curation are performed by some of Toronto’s most well known creatives and sharp-eyed philanthropists! For four years now I have submitted an entry to the juried Silent Auction pool and had the good fortune of being selected. Here is an overview of the photographic works I have submitted.

Dan Nuttall, Brothers in Brown, available as limited series of 10.

Here’s what I said in 2015 in relation to “Brothers in Brown”:

“As a recovering catholic I like the role that subversive art can play in questioning the dogma of the church. Here, the twinning and reversal of one of the images is a simple device that creates two men, identical twins. The title, offers another form of twinning, in the form of double meaning as Brothers (ecclesiastical) or brothers (siblings). The mirroring (used here as a psychological term) can be seen as a form of mimicked behaviour (we imitate the gestures of others during conversation to establish a rapport for example). Such replication may increase intimacy and enhance connection. Certainly many men have connected through the church and their faith however we tend to have their sexual sides overshadow their spiritual. Is there a spiritual or religious tale of two men in love in the context of organized religion? Somehow, the flipping of the image also created a cat-head vase in a floral headdress in the middle. Is this some accident or could it be the hand of god?”

You can read about Queer Catholics as the “ultimate rebels”, HERE.

Dan Nuttall, Pansy For Jocks 1, 2 and 3, photographic series, edition of 10.

My entries for the next 2 SNAP silent auction competitions were from a series titled “Pansy For Jocks” which used jock strap cups and hockey garters and girdles to create flowers. You can read a more comprehensive description of my process HERE. Though a series of 3 was created only two were submitted over 2 separate years to @SNAP4act – the successful entries being “Pansy For Jocks 1” (black, upper right and lower left) and “Pansy For Jocks 3” shown in the lower right corner above.

Here’s is an excerpt from my writing on the above series: “In sports, many aspects of “maleness” are underpinned by “femaleness”. Some men acknowledge these underpinnings while others eschew them. I find it hard to ignore femininity in a world of spandex, padding, cups, straps, clips and girdles. In and of themselves these design “elements” are “neutral” – materials, shapes, degrees of rigidity, support, protection and wicking. Historically, these neutral design elements have been sexualized when it comes to men thinking about of women. However, it is anathema to most men to think of them as erotic when applied to other males, especially in the locker room. In the gay world all these suspensory elements are celebrated – exploited as “hyper-male”. Many a well-swung gay fantasy has rotated around the fulcrum of a jock strap.

For “Pansy For Jocks 3” I received an Award of Merit at the 2018 SNAP event – I was thrilled and humbled amongst such a great field of artists and photographers. Thank you jurors!

Dan Nuttall, WONDER, limited edition series of 10.

This year’s submission is from a series of works titled “Constructions” which use twinning again (remember “Brothers in Brown”) and structure (this time steel straps and girders) to create a novel and whimsical entity intended to affect mood. The queer community in Toronto has had a trying year – problems with the police, a serial killer, ongoing politics about how, why and with whom we celebrate our pride. I wanted to create something “synthetic”, new and integrated, light and positive.

You can see more of art and photography at: www.dandoesdesign.com

You can follow my art on FaceBook at: https://www.facebook.com/torontoartist/

You can follow me on Instgram @dandoesdesign

Simply typing in the words “Dan Nuttall” and “art” in a Google Search will also give you a nice overview of my work.

I am represented by Lee Contemporary Art and Partial Gallery and specific artworks are availabe through these awesome and supportive galleries!

Have Great Day!

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The Perfection of Gray Days

Winter days and monotonous grey skies hardly seem like ideal conditions for anything. Despite these conditions the process of image-making finds some unexpected advantages here. The sun, hidden behind clouds, can offer a diffuse light that changes the texture and nuance of surfaces. Looking up into the sky is easier without harsh light and reveals the world you pass by on brighter days. Under gray skies colour photography tends toward appearing black and white with very subtle hints of colour. Contrast can be high and skeletal forms are revealed. The gray of winter means you can see farther into the landscape in the absence of leaves. For anyone living at high latitudes getting out of doors during the winter is critical to health, so as an artist I try to frame the weather in terms of the opportunities it provides! Wake to a grey day? Get outside with your camera or paintbursh and watchful eye.

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The delights of a cloudy day – the appearance of skeletons.

Over the past few years I have had a chance to work with floor tiles in the Yucatan, Mexico. The experience altered my conceptions regarding pattern, repetition and how a “whole” is created. In the Yucatan the tiles are often laid out in rectangular areas in the middle of the room and surrounded by a border of tiles of a different colour or pattern – creating the appearance of a rug in the center of the room. This exists in contrast to the repeating designs found commonly in wallpapers and fabrics which lead the eye out into space with their infinite possibilities. Under what conditions do “parts” make a whole? How does prior experience inform? And how do the variations in repetition (number, relative position, orientation, colour, extent of array) affect what we see, either in part or as a whole? Engaging with the visual world and seeking patterns and anomalies with the intent of survival is as old as evolution itself.

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Pattern, Francis Bacon, and a critique of the war in Vietnam.

Back to grey skies and looking about.

Looking up not only orients you to a part of the world that may be escaping your purview but also offers an opportunity to isolate phenomena and frame them in novel ways. Of late, I have been capturing only parts of objects. This, because of how I treat these photographs, has trained my eye to dissect, to dis-assemble as I shoot, and to imagine what the possible outcomes might be. This mental re-configuration or “framing” means I am building as I am deconstructing. With practice, the world is fracturing before my very eyes, and I am encouraging its dissolution.

Dan Nuttall art
Enigmatic through dissection, waiting to be re-assembled.

The near black and white partial skeletons are (with thanks to Dr. Frankenstein) re-assembled back in my lab – ahem studio. And as many a scientist, ecologist or keen observer knows, there are some rudimentary forms of symmetry that repeat themselves in our natural world. You’re reading this aticle thanks to bilateral symmetry – one half of your body is, pretty much, identical to the other. For me, capturing the world and juxtaposing it with its reflected self provides some gorgeous narcissistic depth. In a world obsessed with perfection how can these new entities be anything but perfect? Is every form of self-reflection a form of obscuring, of blindness? Is information lost or gained?

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Self/Reflection/Narcissism/Double/Trouble

And intriguing. Once again our desire to comprehend the parts and the whole (and to survive in a increasingly strange world) has us scrutinizing what we’re looking at. Confusing. Surreal. Familiar. Is comprehension always the goal? Can confusion be an endpoint? Strangeness?

And the double, of course, can be doubled again or twice reflected to gaze at its own navel. This imparts something closer to radial symmetry.

Dan Nuttall the tower art photography
The Floating Tower

And although it was the monotony of gray skies that inspired my initial foray into these explorations it wasn’t long before open blue skies held the same appeal. Below, a visit to Coney Island, New York, and a capture of part of the “Wonder Wheel” ferris wheel results in my image “Wonder” which delights with its butterfly-like whimsy and its uplifting and engaging symmetry. 

So get outside, point and discern, comprehend and gesticulate, couple and twin, mirror and reflect, take apart and re-assemble normal.

You can see more of my work at: www.dandoesdesign.com

You can follow me on Instagram at: @dandoesdesign

And on Facebook at: https://www.facebook.com/torontoartist/

You can find out more about “Wonder” and its sale at auction here: http://snap-toronto.com/

WONDER by Toronto artist Dan Nuttall will be at auction at SNAP 2019 Toronto in early 2019.

HYDROLOGY : Art Reflects Change and Resilience in Toronto’s Gay Village

It’s not far from here, in 2016, that Black Lives Matter took a stand on the gay pride march and the participation of City of Toronto police. Within the same distance the body of a murdered young woman, Tess Richey, was discovered in 2017 in the outdoor stairwell of a Church Street building. More recently, the community has been rocked by the murders of men, all targeted by an alleged serial killer who is now in custody. To say the least, the last few years have been challenging and un-nerving for Toronto’s gay village. Toronto artist Dan Nuttall is creating art that reflects on these trying times. “I wanted to use nature to express the complexity of connection and change as well as resilience and optimism”.

 

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Dan Nuttall “Bruised Cloud”, acrylic on canvas, 16 x 40, diptych, available.

 

The art is on display in “The Window”, a storefront art gallery operated by ONE Properties at 558 Church Street, just a few feet from the Church and Wellesley intersection. The art is on display from August 28 – October 2, 2018.

At first glance the three paintings in Nuttall’s show “Hydrology” seem to bear little relation to the complex issues facing this community. Two of the paintings capture clouds (“Thunder Cloud” and “Bruised Cloud”) and the other a stream (“Broad Stream”). On closer inspection however the metaphoric aspects of the works begin to relate more broadly – to personal and community cultural contexts. How is a cloud like a person? In his artist statement Nuttall says this: “Our celestial selves are made of light stuff – tiny things that come together to make us visible, make us feel solid, make us feel separate and distinct. Floating through life, it seems clear sailing. As much as we are able to see from our unique vantage points, we cannot see the small things rushing toward us nor observe their incorporation into our selves. Over time, small things accumulate and condense, are rendered visible and given form. An outburst allows part of the self to detach and return to the ground from whence it came. Turbulence keeps us aloft. Dialogue is a goddess of small exchanges.”

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Dan Nuttall, “Thunder Cloud”, acrylic on canvas, 39 x 47″, available

For Nuttall, incorporating the perspective of Black Lives Matter in the gay pride parade was a necessary way for the queer community to move forward, a way to change, a way to have turbulence keep the political aspects of queer and black culture alive: “I’m a product of the era of AIDS activism and I vividly remember the need for the political acts of groups like ACT UP in New York City. Who can forget “Silence = Death” and the confrontations that precipitated so much awareness?”

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Dan Nuttall, “Broad Stream”, acrylic on canvas, 16 x 20″ each image, available

The themes of connection, changefulness and resilience are present again in his stream painting which is a quadriptych – the stream has been separated across four separate canvases – and requires the viewer to stitch together the stream in their mind, which Nuttall refers to as “an ecological act”. Again, Nuttall is again echoing the themes found in the cloud paintings but also pointing to something else – seeing nature as a source of peace, of healing and inspiration. “Nature is where we can seek healing and peace and for many it is a source of the mystical. For the queer community the last few years have meant challenging ourselves, re-embracing activism and the political, and dealing with new threats”.

Writing about his “stream” series of paintings, Nuttall states: “The emanations found in the paintings of artists like Emily Carr and Charles Burchfield used calligraphic brushstrokes to symbolize the unseen or unknown. Light, sound and the presence of a greater power float within their scenes of nature. In these paintings of streams the emanations, as crescent-shaped blades of white, draw our attention to nature, to the “in-between” of nature, and then beyond to the unknown and unseen. Life, as subatomic, both light particle and wave, illustrating the engine, the power, the mystery that drives it all.” In this moment, at this time, located at the crossroads of the queer village, these paintings both speak and listen.

You can find more of this artist’s work at: www.dandoesdesign.com

You can read about The Window gallery here: http://thewindow558.com/

Dan Nuttall may be reached at: dandoesdesign@hotmail.com

Stilled Life With Curriculum : Art Responds to Ontario’s Sex Education Curriculum Controversy

In Ontario, Canada, the introduction of a new sexual education curriculum has caused considerable controversy. You can find recent news coverage regarding this issue HERE and HERE.

Dan-Nuttall-art-installation-Stiiled-Life-With-Curriculum-web

This art installation by Canadian artist Dan Nuttall intervenes by holding a mirror up to this controversy. On top of the desk sit “bivalves” on a silver serving tray. The bivalves, made of cast concrete, have shells cast from twinned jockstrap cups. Inside the shadowed wood school desk interior, but visible to the observer, sits a shucking knife. The knife sits on top of overlapping “graffiti” – statements made by those who oppose the new sexual education curriculum.

Dan-Nuttall-art-installation-Stiiled-Life-With-Curriculum shucking knife desk

You can read statements by those who oppose this new curriculum HERE.

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The desk and its contents sit in dialogue with a large, offset rectangle on a nearby wall – a chalkboard.

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This work was exhibited at Roadside Attractions in Toronto, Ontario in the Fall of 2017 from August 2 to September 13.  Roadside Attractions, a long-standing art venue in Toronto, no longer exists, though there are plans to mount this installation elsewhere. If you are interested in exhibiting or purchasing this art installation you can contact the artist.

Dan Nuttall is a visual artist who works primarily in painting and installation. You can see his work at: http://www.dandoesdesign.com/

Or visit him on Facebook at: https://www.facebook.com/torontoartist/

 

Red is…

“The reek of human blood smiles out at me” Aeschylus

A recent call for submissions put forward by Propeller Gallery in Toronto asked artists to contemplate the colour red. Timed to open on Valentine’s Day the show, titled “Red Impulse” (February 14 – March 4, 2018), left the door wide open for interpretation, the call for submission noting that red could be… “…crimson, vermilion and scarlet, the colour of extremes, communism, liberalism, powerful, violent and bloody, love and passion, fast, STOP, sweet, hot and spicy, bold, bashful, the SUN, cautious and above all…impulse”. In this blog I’m taking an inventory of sorts – a walk through the reds of memory lane.

I have always equated intense oranges and reds with the paintings of Francis Bacon and the ability of his work to act “…directly [upon] the nervous system”, to “open up the valves of sensation”. Red activates, stimulates, is a diving board. Painting happens mid-air.

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Dan Nuttall, “Red Portrait 2”, oil pastel on paper, private collection.

Red can be sinister or macabre, alluding to events that have never happened. Or might.

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Dan Nuttall, “The Tub”, digital photograph, unpublished.

Red can float, be vaporous, toxic and tremulous. Red can discharge.

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Dan Nuttall, “Red Cloud”, acrylic on canvas, private collection.

Red can signal, exclaim, pronounce and pounce. Red can pull us off course.

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Dan Nuttall, “The Red Nest”, oil pastel on paper.

Red can dazzle, dance, trick. Red can lure, vanish and sneak up behind us.

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Dan Nuttall, “Hummingbird Gorget”, 4 x 6″ each, acrylic on paper, available.

Red can be adjacent, sitting next to bone, skin and scrapes.

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Dan Nuttall, “Grater and vertebrae”, lost.

Red can be political, isolating, terse and playful.

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Dan Nuttall, “Fifty Stars and a Maple Leaf”, 45 x 762″, acrylic on wood panel, available.

Red can be remote, automatic, whirring and mindless. Red can be a button.

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Dan Nuttall, “War Machine 3”, acrylic on paper, framed, available.

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Dan Nuttall, “War Machine 4”, acrylic on paper, framed, available.

Both War Machine 3 and 4 above are currently available and are framed. You can see more of my work HERE.

You can find out more about Propeller Gallery’s RED IMPULSE show in Toronto, February 14 – March 4, 2018,  HERE.

OPENING RECEPTION at Propeller Gallery is Thursday, February 15th, 6:30-9:30.

War Machine 4, above, will be on exhibit as part of the RED IMPULSE group show at Propeller Gallery so please drop by and see this painting as well as the diverse takes on this stimulating theme by an incredibly accomplished group of artists. The Drake Hotel is nearby as are many other Queen Street West venues so you can make a night of it.

You can also follow me on:

INSTAGRAM: www.instagram.com/dandoesdesign/

HAPPY  VALENTINE’S  DAY!

 

Landscapes : Reading and Memory

I have recently finished reading Elena Ferrante’s “Neapolitan Quartet” – which I thought was brilliant. As I progressed through the four novel set, which makes for a great summer read, I continually felt that I was experiencing the streets, the open windows, the smells of food, days at the beach, cramped apartments, gatherings and other interactions between the characters. Taking a step back I was intrigued at how something as simple as “text” – strings of symbols, concatenated or spaced – could conjure a fully fleshed out albeit imaginary world. The act of reading Ferrante created a flow; text became images, a fabric of sorts was sewn and stretched across my imagination.  I was delighted to find out that the Latin for “fabric” is textum. Texts can create paintings.

Shore Lines by Dan Nuttall
Dan Nuttall, “Shore Lines”, acrylic on wood panel, 4 x 8 feet

self/other/sensing/space/memory/iteration/zoo

The opposite, of course, can occur. We can look at a painting or work of art and “read” it, creating a “text” of sorts. Symbols, signs, colour, forms and other stimuli create associations and messages that reach out to confront our gaze. Sometimes the story is robust and coherent and other times it is a rough assemblage of ideas, sometimes more like sentences, often just a few words or a notion. Sometimes art presents us with a blank page and it remains unwritten, unread.

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Dan Nuttall, “Broad Stream” (quadriptych), acrylic on canvas board, 16 x 20″ each

stream/emanation/Carr/Burchfield/light/ecology/

 

The National Gallery in London breaks down the process of reading paintings as follows:

“Reading a painting is similar to reading a book:

  • The reader decodes symbols to establish meaning
  • The reader uses inference and deduction (e.g. body language) to deepen understanding
  • A reader’s previous knowledge and experience affects their personal response”

Memory of course plays a role, intimately tied to experience, and our reading of a painting’s text ends up being diagnostic – speaking about who we are, what some of our experiences have been, what our “world views” may be.

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Dan Nuttall, “Siwash”, acrylic on wood panel, 36 x 48″

Siwash/aboriginal/Vancouver/erosion/lineage/family

My first solo show at Lee Contemporary Art, in Orillia, this summer, is a retrospective of sorts, a chance to look back in time and allow viewers to read multiple texts at the same time. Or, in other words, to glance at a group of paintings or texts and ask : Is there an overarching or meta-narrative? What are the common themes?

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Dan Nuttall, “Cry Me Some Rivers” (diptych), acrylic on wood panel, 24 x 30″ each

rivers/symmetry/face/song/ecological art/ecology

Of course, telling someone abut a book or a painting is often both a dull and corrupting process. And yet people who visit galleries often want to know “What does this picture mean?”, “What was the artist thinking or trying to achieve?”. So, to accompany this exhibition I thought perhaps a balanced approach might work – I would say something minimal about these works – perhaps just words even, and allow the reader and/or viewer to assemble the text. These words are beneath each of the paintings above, and are intended to provide points of reflection, threads form which larger stories may be woven. These paintings, and others, will be included in “Landscapes : Reading and Memory”.

These paintings serve as a gathering of texts. From such gatherings a library of sorts arises, an edifice that is created by both the artist and those that gaze upon art. A place where both can dwell.

Please feel free to comment or to get in touch with me regarding this post. My exhibition information is as follows:

 

Dan Nuttall

LANDSCAPES: READING AND MEMORY

 August 10 – September 2, 2017

 

Lee Contemporary Art

Upper Level, 5 Peter St. S.,

Orillia, ON, L3V 5A8

(705 ) 331-3145

 

Hours: Thursday, Friday, Saturday, 10 – 4