These photographs are a subset of the ‘Consumed’ series. They are a record of the warehouses in their early stages of construction. In a positive sense they appear to me as large environmental sculptures on the land. Without walls, the views to the landscape create a depth that vanishes once construction is completed. The use of B&W allows a reading of form without the emotional impact of colour.
‘Consumed’ is a visual survey of the development of warehouse structures and their impact on the landscape. Production, storage, and consumption of consumer goods are pertinent issues affecting both environmental sustainability and the character of the landscape. With the population of Ontario projected to grow by 4.2 million people in the next 28 years, we can expect a large increase in imported consumer goods to meet demand. Agricultural land on the outskirts of Toronto is already being transformed into major warehouse hubs. Proximity to highways and expansive flat topography make this land perfect for warehouses. Where we once consumed food produced by the land we now consume land to support our insatiable hunger for consumer products. This series received an Ontario Arts Council grant in early 2015 and is currently under development.
The Concession series documents predominantly Toronto storefronts that reflect the city’s past and its rapid economic and cultural changes. These storefronts provide valuable insight into aesthetic and historic aspects of the urban fabric. The ‘designed image’ of current day commerce creates homogeneity across the City. Close examination of these older storefronts reveals a fragile wash of elements from various points in time, expressed in both the exterior surfaces and interior spaces. The photographs are taken at night when the equal balance of light captures the many external and internal details. These places captured in a single point in time require the viewer to determine for themselves what outcomes may be implied.
The blandscape series started as a response to the rapid consumption of rural Southern Ontario land for industrial and commercial developments. These small landscape gestures were a replacement for what was lost. There is a striking formality of approach that is in contrast to the insignificance of the landscape design.
These polaroid diptychs use photographs either collected from the web or taken by the artist. Each diptych juxtaposes images to create a narrative that invites questions and interpretations and may suggest new perspectives. The series presents both current and historical social issues as diverse as the treatment of native people, gender identity, the power of organized religion, and gun culture.