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Statement and Intent

I suppose it’s obvious that on at least one level, I am a self-indulgent Modernist, exploring the aesthetic pleasures of (formal?) composition combined with a strong penchant for pursuing the weirdness that is abstraction free from rules. But it is a great source of satisfaction to know that my work will always have a strong connection to the contemporary urban context of public space – even when exhibited in a gallery setting. What’s more, many of my works – the sculptures especially – are designed to live at least some of their existence in the street, or other outdoor, public settings, from time to time. It’s a possibility that is to be explored in the context of the proposed show.

Indeed, this public realm aspect has considerable precedent, beyond the altered signs, as a number of the sculptures were first installed in the context of numerous public actions and events in collaboration with the Montreal-based community group ruePublique (2010 – 2016). From traffic calming interventions to block parties, and street-closures these works played their part in staking out public space for the promotion of walkable culture and active transport and low-carbon enjoyment of the street.

In a similar vein, most of my work in general – conceived of as “landscapes” – aim to critique the limited and skewed view of the world we have been assigned to as drivers and passengers of vehicles. It is a topic and debate worth exploring today more than ever as the spectre of un-managed carbon emissions grows day by day. At the same time, I am pleased to share the pleasures of abstract painting and sculpture in hopes that their meditative potential can have a positive effect on the minds of viewers of all walks of life.


Passage (Lift) 2018

Maclean, Art, signs
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