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The Price Per Square Inch series highlights the structured system used to value, and in turn, price the majority of paintings. I took the most ubiquitous means of pricing, the price sticker, and painted one in each square inch on the surface of the work. The sticker price, representing the average market value for paintings by emerging artists in Canada, was calculated by sifting through recent benefit auction catalogues (e.g. C Magazine, Art with Heart, Canadian Art and Mercer Union).
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PRICE PER SQUARE INCH

2017 - now
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The Loss Leaders are a part of my Price Per Square Inch series. Each time one of these works on paper is purchased, I remake it exactly the same with an increase of $ 0.25 per square inch on the sticker price (if it doesn't sell within a year, I will devalue it by $0.25 per square inch every year, by painting new stickers overtop). This acts as both a playful means to edition these works and to consider the market interest for the individual works, based on the style, colour and price.
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LOSS LEADERS

2017 - now
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The Production Cost series uses receipts to examine the costs inherent to the creation of artworks. For the initial works, receipts were collected, scanned and then screen-printed over painted grounds. These works contained the receipts for all of the necessary materials, supplies and tools to create a painting and all of the supplementary costs incurred living as a working artist over one week. The latest works in this series, Three Quotes, will consist of a set of 3 commissioned works by different sign painters. Each work considers the labour involved to create a painting, while as a set they examine the quality to price ratio, using the well established three quote system to discern value.
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PRODUCTION COST

2016 - now
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The Dipped series used a systematic, process driven method of painting to explore how time can be concretized into form. I repeatedly dipped the default structure of a painting (canvas wrapped over a stretcher) into tanks filled with paint. Gradually, this repeated act generated stalactite forms from the paintings' surfaces, materializing time in each layer of their formation. Initially, I made a set of monochromatic works and as the series progressed, I varied the colours to differentiate each layer. In the final group of work, I cut the stalactite forms after they had developed, exposing their composition and transforming these cut cross-sections into markers of elapsed time.
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DIPPED

2012 - 2015

304 DAYS

2010 - 2011
www.304days.com
436 Columbia Street, Vancouver

304 Days was an independent gallery project that existed for the duration of its name. The project hosted 13 exhibitions, solo and group, involving 30 artists from Vancouver and abroad. The space was located in Vancouver's historic chinatown/gastown area; it acted as a gallery, a personal studio and a makeshift apartment. The project was self-funded and not-for-profit. A catalogue was published at the end of the project compiling: artist interviews, exhibition images and additional texts in response to the exhibitions.

THE ARTISTS & CONTRIBUTORS


Aids-3D, Wil Aballe, Jen Aitken, Sean Alward, Ryan Amadore, Lesley Anderson, Andreas Breunig, Matthew Brown, Milano Chow, Anne Cottingham, Paul de Guzman, Andrew Dadson, Max Frintrop, Adam Gandy, Jeremy Green, Colleen Heslin, Lee Henderson, Kevin Hubbard, Behrang Karimi, Jeff Ladouceur, David Ostrowski, Nathalee Paolinelli, Michail Pirgelis, Les Ramsay, Jasmine Reimer, Marina Roy, Nicolas Sassoon, Lukas Schmenger, Aurel Schmidt, Jana Schroeder, Philip Seibel, Lucas Soi, Mitch Speed, Chris Succo, Jonathan Syme, Sven Weigel and Sean Weisgerber.

THE PUBLICATION


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HARDCOPY