Brigus Mark was comprised of four litres of Matchless® Mariner black enamel paint willfully applied on July 12, 2007 to an exposed slab of grey siltstone on the barrenlands overlooking Brigus Bay, Newfoundland. As a performative gesture in which the artist sought to “undermine the picturesque,” this work paid homage to The Dictionary of Newfoundland English which includes an ominous definition of ‘mark’ as a “sign, portent.”
Erfurter Fenster (Erfurt Window)(April 17 – May 18, 2008) employed grisaille action painting on the inside glazing of glassbox, a repurposed prefab modernist bookstore built during Erfurt’s years as part of Communist East Germany. As a painted work on glass created in the spirit of the magic lantern slide, Erfurt Window conflated static and memorializing brush strokes with actual views of the adjoining landscape, which includes a modern city, a university founded in 1392, an array of medieval buildings, and the nearby Buchenwald concentration camp.
Empire, an installation created at Modern Fuel Artist-run Centre, Kingston, Ontario (November 12 – December 17, 2011), juxtaposed nine unique 1’ x 8’ striped colour-field paintings on stretched canvas with a 1.25’ x 9’ stripe of gold leaf and roofing tar applied directly on the gallery wall. As a site-specific painted installation that juxtaposed colours from the artist’s colour memory, Empire acknowledged ‘acts of presentation’ as wholly within the over-arching contexts of power and death.
L’Occupation, a three-week solo ‘occupation’ of ParisCONCRET (January 5 – 26 January, 2013) borrowed the technique of ‘marouflage’, used extensively in the Hall of Mirrors at Château de Versailles, to affix a full-height band of untreated canvas covering the gallery’s plaster walls. This canvas functioned as a support for repeating brushstrokes in gold paint. While alluding to historic occupations of Paris, this work made explicit, through title, materials and gesture, the implied occupation of space that a solo exhibition represents.