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His dreadful glance

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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…

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Dust is dancing

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New work for a project I facilitated with Laurie Kang and Paul Kajander. First exhibition took place at Modern Fuel, Kingston, March 2 – April 15, 2017. Second exhibition opens June 30 – July 28, 2017 at Forest City Gallery in London, + artist publication to be released September 2017. More images here.


Shadows like anxiety

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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.


what shape of purple, moire#4

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Moire #4 with Tiziana La Melia.

Short text I wrote “practicing                 distance and delay” (here)

and riso print collaboration:

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works for The Blur In Between at Art Gallery of Alberta

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available light (spiral), installation view at the Art Gallery of Alberta, 2016 [approx. 150 x 120 x 1.5″]

Exhibition curated by Kristy Trinier.

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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

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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

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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.

 


pair of works from exhibition at Gallery 44

03.Everythin under the sun

Available Light (#40-41) (Installation View), 2014

Selenium toned silver gelatin print, painted Dibond, shelf with acrylic mirror, aluminum push-pins

Each 17 x 22.5 x 1.5 inches (43.2 x 57.2 x 3.8 cm)

Full Titles:

Print placed in processing drum incorrectly. The emulsion was placed toward the inner wall of the drum and therefore the chemistry was not evenly distributed over the print surface. In placing a Cibachrome print in a drum, the emulsion should face the inside. (Available Light #40).

Spotting. Top right: Magnified picture of a pinhole. Centre right: Working on one spot for too long swells the gelatin. The spotting colour then settles in a rim round the pinhole. Bottom right: With some practice the pinhole can be made quite invisible. Bottom left: It is better to apply too much colour than too little. If the pinhole is completely filled in, it can still be spotted in the print. Above left: A truly round spot is only possible with a very pointed brush (bottom). A bad point with stray hairs will produce an irregular blotch (top). (Available Light #41).


photographic print edition for Moire #2

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A pair of photo-prints made in conjunction with the second issue of Moire.

Untitled I (Amy Brener Studio, NY, September 2013), 2013. Chromogenic print. 11 x 14 inches, 28 x 35.6 cm.

Untitled II (Amy Brener Studio, NY, September 2013), 2013. Chromogenic print. 11 x 14 inches, 28 x 35.6 cm.


Untitled (squiggle) and Untitled (splotch)

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Installation View [top], DNA Gallery, 2013.

Untitled (squiggle), 2013. Archival pigment print, vintage frame. 13 x 15 inches (33 x 38.1 cm) 

Untitled (splotch), 2013. Archival pigment print, vintage frame. 13 x 15 inches (33 x 38.1 cm)