Shayne Dark

Triad – Red

2012

In 1914, a group of intrepid young men set forth into the northern wilderness with the ambition to document the uncharted territory of the Canadian collective unconscious. Their medium was that of sketchbooks and paint, and with these they rendered a vast and previously unknowable landscape into a tangible national identity. One could call their distinct style picturesque, as it cohered to many of the attributes prescribed by 18th century thinker William Gilpen – for capturing nature so as to make it both palatable and empowering for the viewer. During the romantic period in Europe, certain visual tropes emphasized the beauty of the natural landscape despite the rapid advancements of industrialism. As such, the picturesque, when applied properly, enabled the viewer to apprehend and revel in the vastness of change and opportunity with which they were presently confronted. It is at a similar juncture that we contemplate the works of contemporary sculptor and installation artist Shayne Dark, who’s large scale arborescent schemes present a striking encapsulation of both the magnitude as well as the limits of our natural resources. In an age where the re-assessment of our modes of production and consumption has become a main constituent of our identity, his work serves as a potent reminder of this position’s precarity. One piece resembling a cluster of branches, for example, balances in a tenuous fashion, relying on the equal distribution of weight among all its parts to stay upright. In another work, the boughs extend upwards from a base so small it threatens to tip over. As opposed to the romantic and idealized conceptions of a nature as realized in the compositions of the Group of Seven, Dark, by working in the industrial material of hot forged steel, acknowledges the imprint of the human hand on our surroundings. As art critic and theorist Rosalind Krauss...

Nicholas Crombach graduated from OCAD University’s Sculpture and Installation program in 2012. He has been awarded the Hayden Davies Memorial Award, Samuel Lazar Kagan Award, Abraham and Malka Green Award, and a BMO 1st Art Nomination. His work has been seen at Word On The Street, Katharine Mulherin Contemporary Art Projects, the Al Green...

My works are part of a reflection at the crossroads of the scientific laboratory, the curiosity cabinet and the museum of natural history. It is from the transformation potential of ...

In Hyperobjects, Nova Scotia-based artist Colleen Wolstenholme presents works that developed from her earlier drawings of brain cell patterns and her interest in the way consciousnes...

Curtain Wall is a piece created from cast resin panels. The piece depicts the nighttime Mountain Views and a cave system within that range. With this piece I was inspired by tapest...

This piece is made by casting Hydrocal FGR95 (a very hard plaster) on top of an oil clay pattern. Once cured, the oil clay is removed, then paint and brass leaf are applied to the s...

This piece is made by casting Hydrostone on top of an oil clay pattern. Once cured, the oil clay is removed, then paint and gilding are applied to emphasize the texture on the surfac...

This low relief sculpture is created by casting hydrocal FGR 95 (a very hard plaster) over a hand sculpted oil clay design. Once the hydrocal is...