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.

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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.

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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.

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Outdoor Art : A Papel Picado Inspired by Mexico

 

We have spent considerable time in the Yucatan, Mexico. In that region almost any celebration results in the hanging of strings of “banderas de papel” called “banderitas” or, if referring to the traditional form of this art form, ”papel picado”, meaning “pecked paper”. I’ve always loved this idea of pecking and it brought to mind the many forms of “making” in birds. The pecking refers to the use of small metal chisels or blades that are struck with hammers to excise the open areas of the flags. The flags are piles in stacked layers and a pattern guide is used to ensure consistency across a large number of banderas. Tap, tap, tap, a flower blooms. Tap, tap, tap, a grinning skull takes shape. In our current times the flags are made of plastic.

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During our time in the #Yucatan Peninsula, #Mexico we could often hear the calls of the Ferruginous Pygmy #Owl. I used oil pastels to create this work on paper, celebrating the indominitable spirit of this small bird which is also, reportedly, an aggressive predator.

 

One day I came across a large rolled vinyl sign in the dumpster of a car dealership – about 5 feet in width and 20 feet long. It wasn’t long before I had this coiled languid tongue slung over my shoulder and, as many artists can relate to, I immediately felt both triumphant and apprehensive. One the one hand I had new art materials obtained at a great price. On the other hand I was wondering – where was I going to store it and what was I going to do with it? I had absolutely no idea. I counted on the fact that of the thousands of ideas constantly flowing through my head, one of them would stumble across a large vinyl log one day and fall face first into “art”. The coiled vinyl sign lay dormant, gathering dust for nearly two years.

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Dan Nuttall, #CACTUS MOB, acrylic on canvas, 36 x 48″

 

The finishing of our new back yard this summer was a cause for celebration, we did all the design and implementation work ourselves. I thought of a party with small colourful “banderitas” but was daunted by the thought of finding and stringing a series of suspended lines in the back yard. Since art was always going to a part of our back yard, and space in downtown Toronto is always at a premium, I thought that a single large “papel picado” might suffice. It could occupy the far wall, serve as a focal point and lend an air of celebration and diversity to the setting. I would use the back of the vinyl sign as the front face, providing a thin white surface.

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Process: I created a digital drawing, printing it on letter sized paper (42 separate pages), taped them together and taped the completed image to the back of the repurposed vinyl banner.

It took a month to produce the flag including a week of cutting by hand with a small blade. The flow of memories in the form of plants and garden and insects kept my mind alive: zebra long-wing butterflies, cardboard palms, black-eyed susan vines, night blooming cactus, ginger plants, Plumeria. The content is all farmed from memory. Plants you see in the flag are actual species, done without further research, to the best of my memory as are the two owls called Ferruginous Pygmy Owls which we have often heard while in the greener areas of the city. The butterflies, owls and cactus have all been the subject of separate works of art.

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It took about 40 hours to excise all the tiny section within the papel picado (“pecked paper”). 

And so the “bandera de vinilo gigante ”, the “large vinyl flag”, has now come into being. Retrieved from the landfill, memories extracted, pecked from time. I feel like celebrating. Loteria!!

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The final artwork is 55 x 77″, made from material diverted from landfill, takes up little space and turns our back yard into a gallery. Also weather-proof though not approved for climbing critters!

You can see more of my work here: http://www.dandoesdesign.com

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.

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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/

 

The Dreaming Bear, Ursus oneiros

Painting by Dan Nuttall of Ursus oneiros

For some time now I have been interested in the “level” playing field created through the use of the terms “human-animal” and “non-human animal”. Here, the level playing field is the consistent use of the term animal.

Related to this is another idea, that of  hierarchy in relation to dimensions of sustainability (e.g., political, economic, social, cultural, ecological), specifically the fact that the ecological dimension or “ecology” trumps the economical dimension or “economy”. Example: you can have ecology without economy but you can’t have economy without ecology. Ecology trumps economy. Taken together the above two ideas can be combined as follows: in a finite world with ever shrinking resources all animals will ultimately be subjected to ecological constraints, however those constraints arise.

Painting by Dan Nuttall of Ursus oneiros
Ursus oneiros (Dreaming Bear) by Dan Nuttall, acrylic on wood panel, 36 x 48″ SOLD

As an artist and ecologist I see competition for space, the attributes and qualities of space, and the inputs and outputs of space as critical aspects of the global discussion about which animals and what kinds of spaces will survive. Such questions are independent of the debate about whether or not animals should be kept in captivity as, ultimately, ALL animals will face shrinking spaces, lower quality inputs (tainted food, water, air, vegetation), increased competition, and decreased access to mates (habitat fragmentation, forest destruction). The questions of “zoo” are also the questions of “planet”.

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

Which leads me to displaced animals in compressed life history volumes such as zoo exhibits. In a previous post on this blog, titled “The Mind Is A Zoo“, which addressed the painting shown above, I stated that the “…oneiric state of the painting provides an overarching serenity linking both the familiar and the strange. One wonders what animals dream when they are born in captivity and exposed solely to a single environment. Is there still something deep and rudimentary that can arise from a genetic or shared consciousness? Some archetypical memory?

In other words, can a bear dream of a forest if it has never seen one? If the dreams can only be comprised of things the bear has seen and experienced in its own lifetime does that mean the bear dreams only of the exhibit space and anything it may see from it? Does containment matter if one is born into it? Or, is it possible that the collective unconscious of the bear includes the hard wired dream of a leaping salmon and outstretched paw? And if the bears disappear who will keep this dream? Where can it be stored? And if the dream disappears can it ever be dreamed again?

Non-human animal sensing, experience and memory are components of non-human animal culture. In ecological terms this culture has four cornerstone requirements: food, water, hiding cover and mates. Even if these requirements are being met in what seems to be large unrestricted spaces or conservation areas the lack of any one of them or a reduction in the quality of any one of them can impoverish non-human animal culture and lead to population decreases and extinction. In this sense what we think of as “habitat” becomes the cage. In other words – thinking that non-human animals are “out there” in the “wild” and are “safe” is really just an illusion.

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Dan Nuttall, “Habitat Is The Cage”, acrylic on wood, 30 x 40″

Links to other posts in this blog on the subject of ecological art, non-human animals, otherness, animal sensing and animals and space HERE and HERE and HERE.

The painting above “Habitat Is The Cage” will be shown at Gallery 1313 in Toronto June 21-July 1, 2018, as part of the “Eco-Art 2018” exhibition curated by Phil Anderson. Like all of the other paintings in this post the lineworks or line patterns you see have been taken from abandoned polar bear exhibits at the Stanely Park Zoo in Vancouver, British Columbia.

 

Below, from the same series, but not focussing on bears but the Family Canidae, is “Future Ghost (Canidae)” which addresses domestication as both a form of erasure and conservation.

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Future Ghost (Canidae), acrylic on wood panel, 16 x 16″

More of my art work can be seen HERE.

 

 

 

 

 

 

 

 

 

 

 

Giving Men Flowers: A Pansy for Jocks

In the wake of current events such as the Harvey Weinstein debacle and the #metoo campaign I catch myself thinking about the progress that needs to be made. And as an artist I wonder – what is the role of art? To ensure the equal representation of women and all “others” as administrators and creators of art but also to provide – to guarantee – a setting free from prejudice, threat and harrassment. And what of artworks themselves – what are they saying?

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.

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Dan Nuttall, “Pansy For Jocks 1”, photography and digital manipulation

How is it that we fetishize in both positive and negative ways inert elements attached to human bodies? Here, in this piece, the strange attractor of flower, as pansy, draws the inquisitive bee of attraction in, offers its stigma, styles and ovaries. And releases the bee to rejoin its community.

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Dan Nuttall, “Pansy For Jocks 2”, photography and digital manipulation

 

In the male sports world I wonder if misogyny, homophobia, transphobia and the failure of men to accept “feminine” attributes contributes to violence against others and shaming of the self. This art asks men to question their relationships with their “self” and the “feminine” in the arena of sport. This art invites men to comment – but they rarely ever do. This art invites men to consider the constraints they offer to their partners, their children, their communities when they see the world as narrowly defined. This art asks men to accept femininity, to revel in it, to champion it all of the petals that make up this flower. This art invites women to send it to men they know and ask them what they think of it.

How would men respond to a world where art invited them to be more open minded? These pansies are comprised of jock strap cups and hockey girdle straps and clips. A pair, in black and white, would look great above your bed or in your living room where guests might comment. Erotic art that honours the continuum, not just the poles. Can anyone have a convincing and comprehensive strength if they cannot accept and appreciate the full spectrum of gender expression, of masculine and feminine, of weak and strong?

A gift of flowers is always appropriate, I offer these pansies to jocks and invite you to offer them too, in any form of your making.

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Dan Nuttall, “Pansy For Jocks 3”, photography and digital manipulation.

I was so very pleased that “Pansy For Jocks 1” was selected by jury to auctioned off on March 30, 2017, in support of the Aids Committee of Toronto. You can read about ACT and the amazing work they do here: http://www.actoronto.org/.

“Pansy for Jocks 3” will be auctioned off on March 22, 2018 for the same amazing ACT-SNAP event! This work was awarded one of 5 prestigious Awards of Merit by the Jury, who reviewed the works anonymously. The prize includes $500 and a ticket to the Gala Auction evening. The jury for 2018 included:

  • Cheryl Powers – Photographic Artist (Chair)
  • Chantal Stepa – Co-Chair
  • Jeannie Baxter – Managing Director, Toronto Image Works
  • Aidan Cowling – Photographic Artist and Head of Communications & Development, Gallery 44
  • Erika DeFreitas – Multidisciplinary Artist
  • Kevin Kelly – Commercial and Art Photographer
  • Patrick Lightheart – Designer and Artist

SNAP! 2018 is a Contemporary Photo Competition. A juried competition for all photographers, there are cash prizes for top entries. Selected images will be included in the SNAP! 2018 silent auction, part of Toronto’s most exciting gala celebrating contemporary art photography. This year’s gala takes place March 22, 2018, at the Bram + Bluma Appel Salon at the Metro Toronto Reference LIbrary, you can read about this venue here: http://salonrentals.torontopubliclibrary.ca/about-the-refe…/

There is a PREVIEW night for the Curatorial Collection of photorgaphs as well as those photorgaphs receivign Awards of Merit. The preview runs March 8, 9, 10, at Robert Birch Gallery in Toronto, more info here: http://birchcontemporary.com/

You can see this year’s winners on the web site for SNAP, here: http://snap-toronto.com/

Please share this post if you have a moment to support this critical agency. ACT provides support services that empower men, women and young people living with HIV to achieve self-determination, informed decision-making, independence, and overall well-being. ACT does this through programs such as counselling, information provision, social support activities and programs that help people with HIV return to work.

You can see my larger body of work here: http://www.dandoesdesign.com/

 

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

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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

 

 

 

 

 

Anna Ostoya, Kathy Griffin, Judith and Holofernes: Who Gets to Show?

ANNA OSTOYA, Slaying, 2016
KATHY GRIFFIN, Slayed, 2017

Anna Ostoya SLAYING web

 

In 2016 I had the pleasure of viewing Anna Ostoya’s exhibition SLAYING at Bortolami Gallery in Chelsea, NYC. Here is a quote from the gallery’s press materials:
“Bortolami is pleased to announce Slaying, Anna Ostoya’s third exhibition at the gallery. In her new paintings and photomontages, the artist deploys Artemisia Gentileschi’s iconic work, Judith Slaying Holofernes, as an image of violence inherent in art and in life. The original painting depicts the story of Judith, a Jewish widow who saves her people besieged by the Assyrian army. With the help of her maidservant, she plies Holofernes, the army general, with alcohol and then beheads him in his drunken state.
In these new paintings, Ostoya inspects the crime scene, analyzing it through geometrical abstraction. She substitutes Judith for Holofernes, in Judith Slaying Judith, and Holofernes for Judith, in Holofernes Slaying Holofernes. Each figure attacks itself. These large canvases are accompanied by smaller ones where the artist further analyzes the scene.”

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When, where, why is it appropriate to show a human being getting decapitated? Who gets to articulate, investigete, dramatize or commit such acts?

You can read about ANNA OSTOYA and her work here: https://www.artsy.net/artist/anna-ostoya

About her BORTOLAMI exhibition here: http://bortolamigallery.com/exhibitions/slaying/

And about KATHY GRIFFIN: everywhere.

And about me here: http://dandoesdesign.com/

A Beginners Guide: 5 Tips For Collecting Art

1. Get the Big Picture. One of my faves is a short publication by Canadian Art Magazine titled “Collecting Guide” which is concise and easy to read through. You can find the guide HERE.

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2. Educate Yourself. Take a course on the “Art Market” or “Art Collecting” at an art college or university or museum/gallery in the evenings. For example, here in Toronto, you simply can’t go wrong by enrolling in a Hughene Acheson course in Continuing Studies at OCAD. Lively, stimulating and filled with incredible opportunities – guests and meetings with local art world luminaries and private collections – you’ll be thrilled at what you are exposed to. You can read what I have said about OCAD courses HERE.

You can also watch a video or two on “The Value of Art” By Sothebys. This collection of 10 short videos touches on topics such as authenticity, provenance, size and medium offers a robust perpsective from one of the world’s leading auction houses. You can find these videos HERE.

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What might you learn?  That “good” art holds up a mirror to society and our times?

3. Think About Your Space and Budget. Best to do this before you end up in a gallery or at an art fair. What are the advantages to thinking about “Art As Area”? You can find out HERE. Have a tape measure and a blank wall handy!

 

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“Art As Area: What’s It Worth?” by Dan Nuttall

4. Think Broadly About the Benefits of Art. I love the notion that looking for art is adaptive in an evolutionary sense – we’re essentially hunting and gathering! You can read about that, and chat about it at dinner parties later, HERE.

Keep in mind that art can also be therapeutic. You can read about the dangers of blank walls HERE.

How broad are the benefits of art? Check out this short article on how blue art can help cool, HERE.

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“Hunting And Gathering: How Art Fairs Help You Evolve” by Dan Nuttall

5. Read About Art While Being Entertained. Books like “Seven Days In The Art World” by Sarah Thornton are wonderful exposure to the broader art art and how it may be contextualized. More HERE.

Equally as entertaining, Toronto based Don Thompson has written a realy stimulaitng book on “The $12 Million Stuffed Shark”, more HERE.

You can read more about the author Dan Nuttall and view his works of art HERE.

Or friend him on Facebook HERE.

Or view his Instagram feed HERE.