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Dyan Marie and Bill Marshall: Disrupted Pictures 

The Dalhouse Art Gallery exhibition walks you through analogous and digital worlds.

Looking at Dyan Marie's photographs and Bill Marshall's oil-painted landscapes (Detail of "Navigating Complex Systems—091," above) separately would make you question what, if anything, they have in common---Marie's still-life shots of urban Toronto life, altered in Photoshop to create streaks of elongated colour, seem more than a province away from Marshall's almost artificially coloured landscape paintings of Nova Scotia's south shore, with an overlaid pattern of paint transfer from a sheet of bubble wrap rolled onto the canvas. Curator Peter Dykhuis, who says Marie and Marshall didn't meet until the show's opening, calls both art forms "unexpected inversions"---Marshall paints the "Doers and Dreamers" tourist landscape bleakly, choosing to paint contested territories in his neighbourhood that are slotted for development, while Marie makes a grey-looking Toronto neighbourhood much more vibrant with a focus on flowers and community members. Marshall's bubble wrap effect---with deliberately popped holes to create paint transfer patterns---gives his natural landscape a digital feel, like residue from a computer screen. Marie's work is actually entirely digital---digital camera, digital alterations and the ability to continuously change it in a digital world. Walk your own way through the analogous and the digital until May 9 at the gallery.


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