Solo exhibition at 8eleven (888 Dupont, Toronto) from 9 September to 7 October 2017
Bringing together disparate works and converging lines of inquiry, Two toed lassitude comes together as a composition, an ever-changing assemblage, growing and evolving through associations, assonances and absence. Much like the ways tiny polyps form coral or trees become a forest, the works shift and expand through proximity to one another, building density of meaning where the political becomes visible through the absent, cyclical and askew. This is the way Colin Miner works, cropping out part of an older work and reconfiguring it in a new context, returning to an idea from a different point of view, inverting scale and colour, making movement imperceptibly slow, transforming objects that were once slack to be rigid and allowing stiffness to slump. The works become scaffolding to expansive ideas that layer materials and metaphors as a means to point to something overlooked or forgotten. Created over a series of residencies — Banff, Peru and the Bruce Peninsula — the works weave an unfolding understanding of the natural world with one that is temporarily arrested through imagery, allowing for a slowed and lassitudinous way of looking.
Documentation of the exhibition here.
Was wonderful working with 8eleven and guest curator Leila Timmins who wrote an exhibition essay, available in full here.
All works zinc prints at 2×3″. From top to bottom: Untitled (Blue Tarp, 2016), 2017, installed at 56″; Untitled (Veiled Lady, 2016), 2017, installed below 23″; Untitled (Sloth, 2016), 2017, installed above 86″.
Rey Eye, 2017, neon, 8×10″
A work I brought with me & installed for the 2nd Kamias Triennial in Quezon City (Manila), Philippines. The project was co-curated by Alison Collins (Western Front) and artist Patrick Cruz. More info on the Triennial + images from the exhibition, events & performances here.
Solo exhibition at Neutral Ground, Regina from April 8 – May 6, 2017. Danielle Sander wrote a wonderful text “Exercises for seeing everything at once” available here. More images of the installation here.
+ Exhibition risographic print for take away…
(Modern Fuel images)
(Forest City Gallery images)
Dust is Dancing, group exhibition I developed together with Laurie Kang and Paul Kajander. First iteration took place at Modern Fuel, Kingston, 2017; and, second iteration at Forest City Gallery, London (Canada), 2017.
Shadows like anxiety, solo exhibition at Stride Gallery in Calgary from January 13 – March 3, 2017. An artist publication was generously funded along with Jacquelyn Ross’ amazing text, “How to look at an image, or a Black Hole” (available here). More images here.
Moire #4 with Tiziana La Melia.
Short text I wrote “practicing distance and delay” (here)
and riso print collaboration:
available light (spiral), installation view at the Art Gallery of Alberta, 2016 [approx. 150 x 120 x 1.5″]
Exhibition curated by Kristy Trinier.
The Fact that granular patterns are seen does not mean that the eye can resolve the individual silver particles. (Available Light #50), detail from available light (spiral), 2016.
A kind of graphic unconscious is an exhibition facilitated by Moire (Liza Eurich, Ella McGeough, and myself) at Susan Hobbs gallery from July 4 – August 15, 2015 (Toronto, Canada) featuring work by Liz Deschenes, Eileen Quinlan, Erin Shirreff, and Erica Vogt.
A short web text I wrote for the exhibition is available here.
View works in exhibition here.
A PDF publication is forthcoming in Fall 2015.
Ultra-sensitive eyeballs tracing a silvery wake from purple to blue is a recent exhibition I facilitated at Garden Ave (a project I co-founded) with work by Laura Anderson, FASTWÜRMS, Renske Janssen, Tiziana La Melia, Eunice Lux & Alicia Nauta, Tegan Moore, Erika Vogt, Rhonda Weppler & Trevor Mahovsky, and Dustin Wilson.
PDF catalogue available here.