DIRECTOR (1:2)
DIRECTOR (1:2) from the series LINES SHAPED FURTHER, WORDS ARE, printed canvas, 48″x 48″
ME, YOU, US, THEM (1:1)
ME, YOU, US, THEM (1:1) from the series LINES SHAPED FURTHER, WORDS ARE, printed canvas, 96” x 80”
FILMIC V
FILMIC V (2018/2026) in situ performance mounted digital print, 40″ x 40″, edition of 10
BYSTANDER (1:2)
BYSTANDER (1:2), 2019, from the series LINES SHAPED FURTHER, WORDS ARE, line marker on printed canvas, 48″x 48”
a quarter mile for Edward Hines (317 passes)
a quarter mile for Edward Hines (317 passes) line marker on canvas (2002-2003), 50”x 28″x 3”
NO HIERARCHY OF DIRECTION
NO HIERARCHY OF DIRECTION (1997-2004) Polaroid photos 30″x30”
PENTIMENTO (yellow blue black)
PENTIMENTO (yellow blue black) 2001, line marker on canvas, 60″x 60”
homophone (ks, x)
homophone (ks, x) from the yellowyellow series (2001), line marker on canvas, 60″x 60”
DAWN & DUSK (1:2)
DAWN & DUSK (1:2), 2017, line marker on printed canvas, each panel 48” x 48” Private Collection
PENTIMENTO (white, black, white)
PENTIMENTO (white, black, white) 2004, line marker on canvas, 60” x 60” Collection of Yale Canada
DAS AUTO, DAS WARTEN
DAS AUTO, DAS WARTEN (2022) line marker on chromed steel, 11″ x6″
FILMIC III
FILMIC III (2016/2026) in situ performance mounted digital print, 50″x 32″, edition of 10
FILMIC II
FILMIC II (2018/2026) in situ performance mounted digital print, 50” x 50”, edition of 10
OWEN SOUND
OWEN SOUND (2025) from THE VIA SERIES, line marker on printed canvas, 50” x 30”
TOOK THE ELEVEN TO THE END OF THE LINE
TOOK THE ELEVEN TO THE END OF THE LINE (2014) line marker, porcelain stands, glass spheres, cloches, 18″x 20″
WESTERN SCENIC VIEWS
WESTERN SCENIC VIEWS from The Censure Series (2012) line marker on billboard, 240” x 100”
PLACE & SPACE, 2012, UWAG
ALL THE GREETINGS IN A DAY, MY NEIGHBOUR
ALL THE GREETINGS IN A DAY, MY NEIGHBOUR (2026)
THE LINE MARKER PRACTICE
TOTEMS: STATIONS OF THE CROSS
A man stands in the absence of a horizon, landscape details, or other clues about his spatial environment. Solely his body achieves a sense of space. His nose, dropped towards his feet, creates the mental image of the control space they occupy. The breeze bellows, matting his mass. He removes the cardboard from his collar, pulls a pencil from his pocket and proceeds to display the inconsistencies of his draftsmanship. He has incomplete control of the pictorial space. He whirls. Any indication that the physical law of his particular micro-universe is understood is confirmed in his nonsensical scratches. Yet,in stride and in stroke, he carries on creating something that is unclear but also unfettered. Proud patinations . . . but years of marks add up to nothing. Nonetheless the man is self-contained – an environmental illusion unto himself. He stops, exhausted, but full of bliss. He is successful in his mind, quite sure of his non-vision. And after the man died, all that remained was the cardboard collar. And through time and atmosphere the marks revealed a map. And others asked if the map was there all along. And no one knew, and few cared, and even fewer realized it was his way home.
INTERIOR/EXTERIOR
INTERIOR/EXTERIOR (1997)
Line marker on canvas, thermometers
60” x 124”
PENTIMENTO (yellow, yellow, black)
PENTIMENTO (yellow, yellow, black) 2003, line marker on canvas, 84″x 72”
A TO B: THE BERNIE MOORE PIECE
A TO B: THE BERNIE MOORE PIECE
line marker on canvas, wood template
100” x 100” x 20”
1996
Collection of the Glenbow Museum, Calgary
CURVED ARROW (FOLDED TEMPLATE PAINTING)
CURVED ARROW (FOLDED TEMPLATE PAINTING) 2022
line marker on cardboard, 60” x 40”
Affiliated with the performance, FIVE ARROWS, POINTING SOME WAY, SOMEWHERE
@steelcaseartprojects
CANADIAN PAINTING CANADIAN
CANADIAN PAINTING CANADIAN (2024) line marker on mounted wallpaper, 108” x 96”
Collection of First Real Properties / Yale Canada
STRAIGHT ARROW (FOLDED TEMPLATE PAINTING)
STRAIGHT ARROW (FOLDED TEMPLATE PAINTING) 2022
line marker on cardboard, 60” x 30”
Affiliated with the performance, FIVE ARROWS, POINTING SOME WAY, SOMEWHERE
@steelcaseartprojects
PANOPTICON (After Bentham)
PANOPTICON (After Bentham), 2010 line marker on canvas, 82″ diameter
MEDIATOR (1:4)
MEDIATOR (1:4) 2020, from the series LINES SHAPED FURTHER, WORDS ARE, line marker on printed canvas, 24” x 24″
A LEFT EDGE LEFT
A LEFT EDGE LEFT (2025) line marker on canvas, 30” x 30”
VIA CHROMA SERIES (2025-)
A series of field, monochromes and bisected monochrome works exploring the colours used by North American civic authorities.
huésped (The Road That is Not a Road)
huésped (The Road That is Not a Road) 2004 line marker on canvas garment bag, 60” x 30”
A seven panel monochrome series with two line versions explore notions of wandering, the traveller, flaneur or huésped.
PORTMANTEAU
PORTMANTEAU (2014) line marker on wood fuel gauge rule , 84″x1.5″ PORTMANTEAU is both the static and the transitory. A measuring gauge it also is a temporal device, for past and present technologies; a compass for the geographic, definitive or indefinite boundaries of space and place and a cultural finger in the wind tied to oral, pictorial or written narratives tethered to the lore of the road. Considerate of the many variables impacting human and cultural behavior, PORTMANTEAU, its measures quantity in a qualitative framework.
FILMIC
FILMIC (1999/2026) in situ performance mounted digital print, 40” x 40” edition of 10
PAINTING ENDS (curb ends)
PAINTING ENDS (curb ends)
The work PAINTING ENDS (curb ends) for a series of works titled, ‘the yellowyellow series’. two official yellows only existing by their differing chemistry are used by civic authorities to equate the same meaning. Since 1996, THE LINE MARKER PRACTICE, has positioned itself as a post aesthetic process. Exhibited alongside two other paintings in the series for the exhibition 1911, McMaster Museum of Art.
