I coined a word the other day, but I forgot what it was. It was a good one, it came to me in a dream.

Clint Roenisch Gallery, September 14-October 14, 2017

The exhibition title is a quote borrowed from Michael Nesmith, the American singer, songwriter, actor, Monkee and heir to the Liquid Paper fortune. We may never know what his word was, it is likely lost to history, returned to whatever dreamspace it came from. What we do know is that Michael's mother, Bette Nesmith Graham invented her Liquid Paper typewriter correction fluid using the family's kitchen blender, improvising through trial and error a tool that would allow typists to revise, redact, and correct all imperfections. The desire to undo, re-do, mend broken connections (whether in a typewritten sentence or in a broader sense) figures prominently in this exhibition, which continues the artists's investigation into the tropes of Romanticism.

work in order of images below:

Every Combination of a Sixteen-Segment Display, 2017, LED segments, controller, armature, scaffolding.
Over the course of the exhibition, cycled through the 65,536 unique configurations of these digital sign segments, in an unpredictable random order. Every number, every letter of the alphabet, various signs, symbols and Rorschach-like forms appeared throughout the exhibition. The element of chance always held the possibility that something meaningful even profound might emerge out of this randomness.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime,
images of significant sites which the artist found to be somehow disappointing in reality have been “corrected,” returning them to the realm of the ideal.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Walden Pond Reverted to a Place of Solitude. 2017, vintage coloured liquid paper on archival digital photo to remove the crowds, 17” x 17”.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Sea of Fog Mountain Range with Power Cables Obscured. 2017, archival digital photo behind sandblasted glass, 15”x15”, 17”x17” framed.
The awe-inspiring mountain range depicted in Caspar David Friedrich's 1818 painting Wanderer above the Sea of Fog is edited to remove 21st century power cables, gas stations and tour busses from the foreground.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Sea of Fog Mountain Range with Redacted Gas Station. 2017, vintage coloured liquid paper on archival digital photo. 17”x17” framed.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Georgian Bay With Noisy Party Boats Omitted. 2017, folded archival digital photo,15”x15”, 17”x17” framed.

Wishing Away The Things I Suspect Are Standing In The Way Of My Encounter With The Sublime: Snack Bar and Gift Shop Excised from Canoe Lake, Algonquin Park. 2017, digital photo collage,15”x15”, 17”x17” framed.

I’ll Show You The One Thing Only I Can See, 2017, graphite on archival digital print, 15”x15”, 17”x17” framed.
A faithful rendering of the artist's “eye floaters” mar an otherwise pristine landscape. These defects appear as floating squiggles and refer to elusive, phantom forms that are ordinarily visible to no one but the artist.

An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year, An ongoing series of vintage calendar towels embroidered with the date of an identical, future calendar year. What was once obsolete thus becomes decades ahead of its time.

Rubbing of a Drawing by Dan Flavin
Rubbing of a Drawing by Josef Albers
Rubbing of a Drawing by Sol LeWitt, all 2017, charcoal on Arnhem 1618 paper, 15”x15”.
Original drawings by Flavin, LeWitt and Albers have been “copied” using the technique of frottage. Generally done on relief surfaces like plaques or gravestones in order to record three dimensional details, it functions here as both an act of reverence and a gesture of eradication.

Above and Below: Every Combination of a Sixteen-Segment Display

Above: Walden Pond Reverted to a Place of Solitude

Above: Sea of Fog Mountain Range with Power Cables Obscured
Above: Sea of Fog Mountain Range with Redacted Gas Station
Above: Georgian Bay With Noisy Party Boats Omitted
Above: Snack Bar and Gift Shop Excised from Canoe Lake, Algonquin Park
Above: I’ll Show You The One Thing Only I Can See
Above: An Obsolete Calendar Towel Embroidered with an Identical, Future Calendar Year
Above: Rubbing of a Drawing by Dan Flavin
Above: Rubbing of a Drawing by Sol LeWitt
Above: Rubbing of a Drawing by Josef Albers

Image credit: Toni Hafkenscheid
Grateful acknowledgements for the generous assistance of: Clint Roenisch, Annie Koyama, Micah Lexier, Chris Kennedy, Sarah Robayo Sheridan, Michael Davey, Alex Bowron, Ruth Jones, Banyan, Maxim Bulkowsky, The Canada Council for the Arts, The Ontario Arts Council, The Toronto Arts Council, Jennifer Davis, Meghan McKnight, Dimitri Levanoff, Superframe