David and Jorden Doody: Electric Sleep

vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com

jorden and david doody Electric Sleep

David and jorden doody Electric Sleep

Vernon Public Art Gallery October 8 - December 22, 2020

Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 www.vernonpublicartgallery.com 250.545.3173

Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada October 8 - December 22, 2020 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Copy editing: Kelsie Balehowsky Cover image: Electric Sleep, installation at the Vernon Public Art Gallery, October 8 - December 22, 2020 Photo credit: Yuri Akuney: Digital Perfections Printing: Get Colour Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-57-8 Copyright Š 2020 Vernon Public Art Gallery All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada.

Telephone: 250.545.3173 Facsimile: 250.545.9096 Website: www.vernonpublicartgallery.com The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.

This exhibition is sponsored in part by:

table of CONTENTS

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Executive Director’s Foreword · Dauna Kennedy

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Introduction · Lubos Culen

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Deliverance: Dislocating formats in the work of David and Jorden Doody · Trevor Gould

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Electric Sleep · Images of the Installation at the Vernon Public Art Gallery

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Selected Biography · David James Doody

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Selected Biography · Jorden Blue Doody

Exhibition Statement · David and Jorden Doody

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executive director’s Foreword

The Vernon Public Art Gallery is pleased to host an exhibition by Jorden and David Doody the first ‘team’ of artistic collaborators who in 2008 earned their BFAs together at the University of British Columbia Okanagan Campus. They followed this with a Master’s Degree in Fine Art at The Concordia University in Montreal and the University of British Columbia Okanagan Campus.

The VPAG had the pleasure of hosting an exhibition of this team twelve years ago and are thrilled to welcome them back with the presentation of a site-specific sculptural installation titled Electric Sleep.

We’d like to thank Trevor Gould, an artist and the Professor of Sculpture and David Doody’s adviser during his MFA studies, for his insightful essay focused on the Doodys’ studio practice. We hope this publication will provide viewers with deeper insight into the work being presented in Electric Sleep.

We gratefully acknowledge the financial support of the Province of British Columbia, the Regional District of the North Okanagan, and the BC Arts Council, whose funding enables us to produce exhibitions such as this for the North Okanagan region and interested parties across Canada.

Dauna Kennedy Executive Director Vernon Public Art Gallery

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David and Jorden Doody: Electric Sleep · introduction

David and Jorden Doody work collaboratively and create sculptural installations which often are difficult to decode or get a hint of what the narrative might be. The basic premise of their sculptural practice is to contrast the three-dimensional space we inhabit with the virtual reality apprehended on a screen. The works they create are more accessible through examining the contextual underpinning of various interesting juxtapositions of sculptural elements. When viewing or experiencing the Doodys’ work, one inevitably ponders the materials and their use as they are varied and often inconsistent with the objects’ re-purposed signifiers.

The works in the exhibition are situated in a flux between the screen culture and the omnipresence and proliferation of images which are immaterial, yet they are the representation of three-dimensional archetypes. In contrast, The Doodys’ sculptures often borrow the aesthetics of the images seen on various devices, but they manufacture the three dimensional assemblages that mimic the appearance of images seen on a screen. The artists have the commitment to experiment and improvise, and at the same time they use re-purposed ‘readymade’ objects which complement their hand built sculptural elements.

The sculptural elements easily avoid classification as their forms and juxtapositions are situated in flux; they are neither logical, nor altogether absurd because of their existence in three-dimensional sculptural forms.

Our mental faculty solely is not suited to search for obvious or implied narratives or explanations of their meaning. Instead, we may rely on our associations to contemplate possible links between the objects, their forms, the materials that they were constructed from, and their placement in the gallery space.

The Doodys’ studio practice is dedicated to the use of varied materials, some of them new, others repurposed, but both selected for their potential to trigger associations linked to the intrinsic properties of the objects. While the Doodys are interested in producing sculpture using varied traditional fabrication methods, they also employ the repetitiveness of the flood of images appearing on the screens constantly.

With the high rate of the images published and disseminated through social media and on the Internet, their sculptural elements are often self-referential in a display of disparate relationships.

The Doodys’ reliance on actually producing three-dimensional structures by fabricating mixed media assemblages keeps the work grounded in the physical world instead of their potential simulacra streaming on screen. The fact that the viewers are actively moving within the physical installation can contribute

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to the understanding of binary existence and a blurred ambiguity of the real vs. the virtual world that has become a part of our lived experience. The title of the exhibition, Electric Sleep, alludes to the phenomenon of infinite images being featured on the web as a borage of unwanted information. With the overload of constant information there is a mental fatigue which often turns off our ability to deal with its volume. The main focus of the exhibition is to address the duality of real vs. virtual existence and specifically the binary relationships between the concrete materiality of the objects and the communicated ephemeral images of the objects. Despite the artists’ use of various materials and fabrication methodologies, there is a strict insistence on hands-on experience when building sculptural elements, even when they use ready-made and found objects, or reproduce a digital image from the Internet.

The various components in the exhibition are staged throughout the gallery space and thus create an immersive environment for the viewers to navigate. The digital imagery the artists incorporate into the sculptural elements references the increasing volume of information transmitted electronically. The physical presence of the sculptural objects stand in opposition to the nature of the fast transmission of information.

The contrasting signifiers of various sculptural elements clash in a cacophony of shapes and colours which inevitably results in an ungrounded flux and visual instability. Here, the whole installation mimics and references the uncontrolled and overwhelming flow of ubiquitous information.

Lubos Culen Curator Vernon Public Art Gallery

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Deliverance: Dislocating formats in the work of David and Jorden Doody

By Trevor Gould “We are forced to reconsider presence, absence and reproducibility as we sculpt our understanding of authenticity.” - David and Jorden Doody Multiplicity defines David and Jorden Doody’s collaboration, complex and diverse in the many registers it occupies. This diversity is less a multidisciplinary activity to my mind than a practice that reveals the importance of the multiple formats that they engage with. I find the term format to be more appropriate and consistent with the challenges of presentation, organisation and structure that each of the changing platforms they employ, such as digital scans, social media, through to installation sculpture for their engagement and interaction in spatial and cultural contexts. The issue this multiplicity poses for their practice is twofold.

The first, how to make sense of this abundant diversity in the absence of any apparent unifying element, either formally or in terms of material and image. And more importantly, does this diversity expose a deliberate intention that is consciously at odds with traditional values in art practice, such as history, context relations, originality and so on? Is this what makes it relevant or new? In fact, their sense of sculpture, as an investigation of “…the tactile qualities of sculpture and three-dimensional space in the virtual light of screen culture and the post-internet age of the image explosion,”1 points to the latter. Here this ‘mash-up’ of the tripartite— tactility, screen culture and image explosion functions as the main components of their ideas, is the complex context in which they place themselves in with significant ramifications for cultural continuity.

Time and place, is, therefore central to interrogating their practice.

It has always been determined that art follows from action to reaction and since Dada, there have been important shifts in this perspective. Significantly up until somewhere around the first decade of the new millennium, the teleology of action and reaction of the avant-garde makes little or no sense at all in determining new art. We are in a position now of the post-internet, a negation of tradition, “…the loss of history, of the idea of progress, of the utopian future—all things traditionally connected to the phenomenon of the new,” we are exposed to new structures. As Boris Groys notes, “…that the positive excitement about the end of the new in art is linked in the first place to this promise of bringing art into life—beyond all historical constructions and considerations, beyond the opposition of the old and the new.”2 Simply put, there is a necessity to include many branches of thought simultaneously, to not rely solely on the evolution of material and form, but to be traded for something that is reproduced and exchanged over and over again in the realm of digital information.

Walter Benjamin is yet again of relevance in this context of the Doodys’ work. The site specificity of the aura countered by its mechanical reproduction jeopardized “the historical testimony” in time and space that made images nomadic.3 The way David Joselit sees it, ”…one of the primary aesthetic and political struggles of modernity has been the dislocation of images from any particular site, and their insertion in networks

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where they are characterised by motion, either potential or actual, and are capable of changing format— of cascading chains of relocation and remediation.”4 The artists encouragement of “… rogue collisions between icons, symbols and materials that forge new and vibrant networks”5 rises to this challenge.

Symptomatic of these dislocating and shifting formats, an analogy to this conversion of ideas occurred while teaching a sculpture course some years ago. Since the early 2000s, visual references can be pulled off the web, on a lap top, or more recently with ease on a cell phone in a studio setting. In one such studio exchange, wanting to refer to a specific work of Tony Cragg from the eighties, the first link that came up on a student’s lap top was an eco-recycling site promoting Cragg’s sculpture as though it was a lesson in recycling and offering second life to discarded waste, purging the environment of plastic. In the way one finds it useful to repurpose a yogurt container as a planter. One cannot entirely fault this appropriation given the current debate on climate, however, to ignore it, leave it unchallenged is a superficial and insubstantial rendition of Cragg’s significance for contemporary sculpture and simply just not accurate.

My point in this one instance is, if there is no value established in a kind of historical frame, as is well known, these free random algorithmic associations proliferate on the web creating a sort of legitimacy for a certain style of ‘knowing, learning and experiencing’. The challenge to counter this Tsunami of associations is lost by the sheer volume of image formation, manipulation and combination. Yet in this zone, the Doodys deliberately exploit this ambiguity in creating their unique hybrid installations drawing on this experience to interpret the random distortion of digital scans from Art History for example, while simultaneously exploiting elements from graffiti to snowboard fashion/culture; all the while bringing these experiences back to what Cragg calls ‘first order experience’,6 thereby somehow maintaining their ambivalent connection to those traditions. By stirring up these ambiguities and contradictions, the Doodys dance around issues of presence by conflating it with entertainment, “… we seek to cultivate an unbridled space where contemplation and entertainment mingle freely,”7 all is fair game to manifest their ideas.

Without a formal structure, there is little to filter out this online litter it seems. Since a new generation of artists whose formation may be less determined by history, inhabit spaces of chance ‘influences’ feeding into specific world views, that has little attachment to the past but everything to do with the present. Hence the development and formation of knowledge based on common ground is de-territorialized and as much as images are dislocated from their site specificity, we can most likely say there is a corresponding process implicating knowledge as well. If Cragg’s work represents a particular epistemology, that has intellectual and physical ties to its place in time (British art History), through the conceptual lineage of the ‘found object—ready made’ then in this instance in the probability of the web, the work is dislodged from its meaning in place and time. The Doodys belong to a generation of artists to contend with who know no

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life outside of the net. They seem to express little need for legitimacy in any formal context but claim for themselves a new kind of agency. This is a “… liberation from the obligation to be historically new” and “seems to be a great victory of life over formally predominant historical narratives which tended to subjugate, ideologize, and formalize reality.”8 The influence on thought is profound and the ability to find shared common ground is both complicated and contested. “The variety and scope of the materials and methodologies reflects the dynamic encounters and exchanges of a restless, media saturated, cosmopolitan experience. Active networks are born from improvisations and experimentation that express the physical form of a philosophical practice,” say the artists.

The Doodys have a clear preoccupation with surface effects, of heightened appearances, reflections, shimmering images, overlays, exterior displays, veiled surfaces conceptually tied to the act or idea of painting, applied in the form of public wall installations, painted canvas, printed textiles, sculptures in florescent electric coloured expanded foam, 3D form translated from digital files, through to patterns derived from pixilated, ripped9 or scrubbed digital images lifted from the internet. Notably recent works collectively titled Dreaming Machine build on a singular zebra-like pattern or ‘digital code’10 comprised of an electric shimmer in red, orange, yellow, three different hues of blue with black, reminiscent of outmoded VHS effects of old analog video recordings on tape cassette. Broken down into various compositions, into a kind of abstraction, this pattern or digital code, is then re-appropriated for textiles to line designer men’s jackets, for fabric drapes and accessories for sculpture, appearing as a motif in wall paintings, a template to compose paintings as well as create digital works on paper. In each case, the pattern is recognizable but yet is morphed to suite its unique purpose in a new format. This transmutation is seamless. While anchored in traditional formats (painting and sculpture) the ‘shape’ of the internet models their ideas while influencing their experience in new registers with new meanings.

For it is in the power of the image after all, epitomized in a series of works of a Triumphal Arch that is subjected to becoming a vehicle for their intentions and desires. Superimposing their data code on a Triumphal Arch, we witness the most visible collision between contexts. In the topology of the monument, with one foot in the past, the other set in its place in space and time, along with its vacated recollections, abandoned it is open to the inscription of another order. One that re-writes the present in a script of red yellow blue and black not as a challenge but as a resistance to history. Cenotaphs, new mausoleums complete this inventory of memorabilia.

With Electric Sleep, the title for their exhibition, the Doodys make a dubious reference to an afterlife, to which these memorials commemorate the uploaded images on the web, existing as a eulogy to their perpetual other net-life. Their attack on images that scatter throughout their installations is meant to disrupt the duplicating process, the reproduction of the image so that they shred the surface of sensibility, which translates into a kind of digital interpretation on the scanning bed.11 A clear and pertinent disruption that aggravates the images legibility exposing it’s so called digital identity/structure while playing with its duplication. Here we see the Doodys’ intent as they consciously hammer at sensibility through the disruption and interference created by elements in the works. Things clash whether images or material through their embellishment of ideas.

Printed textiles shimmer in their depictions of mannequin sculptures as display on display.

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Almost twenty years ago Jonathan Crary made the observation: “We are now in a material environment where earlier 20th century models of spectatorship, contemplation and experience are inadequate for understanding the conditions of cultural creation and reception.”12 Language drives this change as it discloses the conceptual depth and the intellectual reach of the new. The vocabulary that gave meaning to artistic approaches impacting on the object for instance, has changed immeasurably: process, post-minimalism, syntactical coherence, abstraction, the found object, readymade, simulation, appropriation, recycling, object and image belong now to recent history. How our material world appears to us today is compounded by key words or concepts structuring our sense of material presence in space: sampling, immateriality, immaterial objects, up-cycling, re-purposing, second-life, de-skilling, Looptworks, scrap-store, trashion, waste hierarchy, creative reuse, mashup, immersion, VJ’ing, virtual reality, Internet of Things, Post-internet, post history, rounded off with the ubiquitous iPhone selfie.

“I believe image power,“ says David Joselit, “… the capacity to format complex and multivalent links through visual means—is derived from networks rather than discreet objects. This means that works of art must develop ways to build networks into their form by, for example, reframing, capturing, reiterating, and documenting existing content —all aesthetic procedures that explicitly presume a network as their “ground”.13 The Doodys’ networks map out precisely these variations of objects and their connections.

And yet ironically, as they claim the post-internet, they are at the same time significantly enhancing those traditional practices, as Groys notes, “… if reproduction makes copies out of originals, installation makes originals out of copies.“14 The Doodys strive to be politically and culturally engaged in social reality: they want to reflect on their own cultural identity, express their individual desire, but first of all they want to show themselves to be truly alive and real—in opposition to the dead historical constructions of the past.15 Fast becoming a Doody Brand.

(Endnotes) 1

All citations are from the Artists’ statement, Summer 2020 2

Boris Groys, “On the New” in Art Power, MIT Press (2013). P 22 3

David Joselit, “After Art” Princeton University Press, (2013). P14 4

Ibid p 14 5

Artists statement 6

A term Tony Cragg uses to insist on the experiential significance of sculpture that to be in its presence is to

know sculpture.

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Artists statement 8

Boris Groys, “On the New” in Art Power. MIT Press (2013). P 22 9

A term used by the artists as an analogy to connote the quality of the digitally distorted image akin to a

physical rip in a page.

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The artists’ description of these patterns.

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13 14

The Doodys have used a black and white scanner from the nineties to drag images crisscrossing the scanning bed while still being tracked by the printer, where a computer is allocated to fill in the gaps reproducing the distorted image in a reconstituted full colour image.

Jonathan Crary, From his brief but immensely insightful foreword to Installation art of the new millennium.

Edited by Nicolas de Oliviera, Nicola Oxley, Michael Petry. Thames and Hudson (2003). np David Joselit, “After Art” Princeton University Press, (2013) Boris Groys, “Art in the age of bio politics” in Art Power. MIT Press (2013). P 64 Boris Groys, “On the New” in Art Power. MIT Press (2013). P 22

Trevor Gould is a Canadian contemporary conceptual artist known for his sculptural installations. He is a Professor of sculpture at the Concordia University in Montreal. Gould’s artwork is included in major collections of leading art galleries and museums, including the National Gallery of Canada, the Museum of Contemporary Art of Montréal, the National Museum of Fine Arts of Quebec, the Art Gallery of Ottawa, and numerous galleries in Italy, Germany, France and Poland.

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Electric Sleep: Artist Statement One of the most interesting challenges for artists of our generation is to concisely account for the profound and innumerable effects of the ever-pervasive rising tide of the digital era. It is an invasive sea of information, communication and distraction. It is a boiling turmoil of updates, metadata and speculation. As we research the field of contemporary sculpture and the transitional spaces between digital media, images and concrete materiality, our work focuses on creating a visual language where lived experiences and theatrical metaphors intersect within the framework of the gallery walls.

The Electric Sleep is an immersive installation, a visual metaphor describing the imposition of the digital experience on the collective subconscious mind. The installation creates a surreal space that carries the viewer back and forth across the Object / Image divide. It is a tenuous standoff between concrete materials and illustrative icons, the real and the virtual, the tactile and the imaginary.

The interplay of the components in the exhibition create a theatrical mise en scene. Each of the components in this installation express both a tactile material presence and resonates as a fractured and uprooted symbolic signifier. The size and positioning of these image-objects create a 3-dimensional frieze frame for the viewer to inhabit and explore. By placing the viewer at the heart of the experience we establish a sense of scale and active inclusion that underpins the tacit engagement within the gallery. The gallery walls are painted floor to ceiling in the deep and illusive mauve of twilight. Within the open stage of Electric Sleep, a colourful explosion of digital distortions and geometric patterns are projected on to five folding gateways. These interconnected portholes create a dividing line that bisects the installation.

These iconic archways offer dynamic and transformative shifts in the viewers perspective as they navigate the installation.

Dreamlike shadows cast in flowing gold foil carve out long virtual hallways from the liminal spaces just beyond the threshold. The shadow’s glittering surface captures coloured reflections of an abandoned, oversized inflatable beach ball. Bricolage figures, frozen in time, stand in as material witnesses to a disjointed dreamscape. These ethereal apparitions are the material embodiment of the ghost in the machine; haunting fragments assembled from echoes of a digital afterlife. The many eyes of endless Ouroboros loops and links itself like a playful anchor between worlds suspend in flux.

For us, this opaque vista and these mercurial assemblages speak to the omnipresent and ever-shifting nature of a falling horizon and point ultimately to a malleable and unstable view of the post digital world.

These images, structures, and surfaces are all locked within a self-contained cube and illustrate an imaginary island which has crystalized from the discarded fragments floating on an unending sea of virtual emptiness; a sea which expands its reach far beyond the architecture of the gallery walls.

David and Jorden Doody

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Electric Sleep images of the installation at the Vernon Public Art gallery October 8 - December 22, 2020

Electric Sleep, 2020, mixed media sculptural installation at the Vernon Public Art Gallery, October 8 - December 22, 2020 Photo credit: Yuri Akuney - Digital Perfections

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David James Doody twoartists.net

Curriculum Vitae

Education: Intergenerational Trauma and Teaching. 7 day intensive training workshop focusing on Canadian Indigenous perspectives and cultural sensitivity in the classroom. INPath, Eastman QC, Aug 2018.

MFA, Sculpture and Ceramics, University of Concordia, Montreal QC, 2014-17.

The Arts Institute Certificate, Sculpting and Mold Making. Capilano University, Vancouver 2012-2013.

Golden Artist Color Art Educator, New Orleans 2012, NYC 2011, Boston 2010, South Carolina 2010.

BFA, Creative and Critical Studies, University of British Columbia, 2008.

Master Instructor, PADI Vancouver 1997, Bonaire 1998, Grand Cayman 1998.

Awards: Ville des Montreal Permanent Public Sculpture Competition April 2019 Canada Council for the Arts, Research and Development Grant. Caracol Symbolism. Montreal QC, 20172018.

First Capital Reality Graduate Scholarship, April 2015.

British Columbia Arts Council, Scholarship Aug 2013.

Dean’s List, Capilano University Dec 2012-13.

International Artist Fellowship, San Francisco Art Institute 2010.

Helen Pitt Award, for outstanding achievement in the visual arts (UBC), 2008.

Deputy Vice Chancellor Purchase Award, UBC Permanent collection, 2008.

Teaching Experience: Painting Instructor. UBC Okanagan, VISA 460k, Public Mural Painting Summer 2020.

Sculpture Instructor. UBC Okanagan, VISA 322, Advance Sculptural Practices - Fall 2019 Winter 2020.

Drawing & Painting Instructor. UBC Okanagan, VISA 104, Intro Drawing & Painting Fall 2019 Winter 2020.

Sculpture Instructor. James Bay School, Cree Nation of Chisasibi, James Bay, QC. Oct-Dec 2018.

Sculpture Instructor. Concordia University, Sculpture 210 - Fall 2016 Winter 2017.

Teaching Assistant. Concordia University, Urban Clay with Linda Swanson, Winter 2016.

Teaching Assistant. Concordia University, Digital Sculpture with Erwin Regler, Fall 2015.

Teaching Assistant. Concordia University, Sculpture 210 with Eva Brandle, Fall 2014.

Art Educator. Traveling Lecturer and Guest Speaker, Golden Artists Colors NYC. Canada and USA, 2009-14.

Arts Instructor. Painting, Drawing and Clay Sculpture Vancouver Arts Umbrella. Vancouver BC, 2010-14 Program Designer and Art Instructor. Rotary Centre for the Arts, Arts Blast Summer Camps. Kelowna BC, 2007-18.

Master Instructor, PADI. Grand Cayman1998, Vancouver 1999, Cairns Australia 2000.

Public Works: City of Kelowna, Mural commission, CTQ Engineering UBC Okanagan. Kelowna BC, July 2020.

Quartier des Spectacles Montreal, Street Mural Intervention.

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Montreal, June 2020.

City of Kelowna, Mural commission, Uptown Mural Project. Kelowna BC, July 2019.

City of Kelowna, Mural commission, Uptown Mural Project. Kelowna BC, August 2019.

City of Montreal, Permanent Public Sculpture, Rue Berri & Rue Ontario. Installation April 2019.

City of Kelowna, Mural commission, Kelowna Public Art Gallery. Kelowna BC, July 2010.

Corporate Commissions: Tricotés Serrés, Public Art commission for Québec 375, Montréal QC, 2020 Uptown Mural Project, Mural commission, Rutland BC, 2019 Constellations Festival, Mural Commission, Squamish BC, 2019 Ungava Gin, Mural commission, Quebec QC, January 2020.

KEY BAR, Mural commission, Vancouver BC, Oct 2018.

IBM Montreal, Mural commission, Montreal QC, December 2016.

We Work, Mural commission, Montreal QC, November 2016.

Osheaga Festival, commission and public installation, Osheaga Music, Montreal QC, July 2016.

62 Nortre Dame St W, Brule Contracting, Montreal QC, June 2016.

MURAL Festival, Sculpture commission, Montreal QC, June 2015.

Light Speed Technologies, Montreal, Interactive Sculpture commission, Montreal QC, April 2015.

MUVI, Montreal Music Video Awards, Awards Sculpture, NOMAD Nation, Montreal QC, Nov. 2014.

The Narrow Lounge, Mural commission, Vancouver BC, July 2013.

Earls Food Group, Olympic Branding, Sculptural commission, Vancouver BC, 2010.

Design and Applied Arts Experience: Artistic Director, Uptown Mural Project, Kelowna BC, 2020.

Artistic Director, Uptown Mural Project, Kelowna BC, 2019.

Guest Artist & Graphic Designer. MassivArt, Montreal QC, 2016-19.

Interior Designer & Muralist. The Key Bar, Vancouver BC, Dec-Jan 2019.

Muralist. Cyrcle Mural, Lune Rouge Montreal QC, May 2018.

Graphic Designer & Artistic Director. Caracol Symbolism. Indicia Records Montreal QC, 2017-2018.

Guest Artist & Textile Designer. Nathon Kong Tailoring, Montreal QC, 2017-19.

Guest Artist & Brand Designer. Kitsch Wines, Kelowna BC, 2016-18.

Sculptor & Mold Maker. IATSE Union #891, Night at the Museum 3, Burnaby BC, Nov 2013-14.

Scenic Painter & Interior Design. The Emerald Cabaret. Vancouver BC, Fall 2013.

Scenic Painter & Brand designer. COG Festival. Kelowna BC, July 2010- 2013.

Visual Art Director. Keloha, Indy Music Festival. Kelowna BC, July 2013.

Costume & Prop Designer. Eyes Wide Shut, Promotional video for Global Restaurant Group. Vancouver BC, Sept. 2012.

Set Decorator. Capital One, TV Commercial, Filmgroup. Surrey BC, Sept. 2012.

Set Decorator. Christmas Lodge, Movie of the week, Filmgroup. Langley BC, Sept. 2012.

Interior Design & Muralist. The Rumpus Room, Vancouver BC, 2011.

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Props and Set Design. Reace the Series, Chad K Productions. Burnaby BC, Fall 2010.

Scenic Painter. High School the Musical, Actors Society. Kelowna BC, 2010.

Production Designer. Inner Fish, Theatre Remains. Kelowna, Aug. 2009 - Vancouver Dec. 2009 - Victoria, Feb. 2010.

Solo Exhibitions: Small Windows, FINA Gallery, UBCO, January 2020 Pool, Chromatic Festival, Ecole Des Beaux Arts Montreal QC, May 2018.

Point Blank, Thesis Exhibition, New City Gas Lofts Montreal QC, Oct 2017.

Constant Reminders, Herman & Audrey, Toronto International Film Festival. Toronto Sept 2016.

Strange Love, CIRCA Pop Up Gallery, Montreal QC, Aug. 2015.

Hallow Harbor, Alternator Gallery. Kelowna BC, July-Au., 2015.

The WW2, Interurban Gallery, Vancouver, BC, Oct. 2013.

The Wearing Want, Good Luck Art Gallery, Vancouver, BC, Oct. 2012.

And All the Queen’s Men, Solo show, Latitude 53, Edmonton, AB, July-Sept. 2012.

Side Saddle, Campbell River Public Gallery, Campbell River, BC, Aug. 2012.

At Odds, Inter-Urban Gallery, Vancouver, BC, May. 2012.

Trucks and Trannies, GTTP, Vancouver, BC, Aug. 2011.

Group Exhibitions: Coutour Des Montreal, Museum des Beaux Atres, Montreal QC January- Sept 2019 Printemps Au MAC, Fundraiser for Musee d’Art Contemporain, Montreal QC, 2019 Passage , Gallery COA, Montreal QC, Oct-Nov 2018. #WIP , Mural Festival, Montreal QC, June-July 2018.

Parallel, Le Roche Joncas Gallery, Montreal QC, July. 2016.

SMASH, the Gardiner Museum, Toronto Ont. June 2016.

Chromatic Traveling selection, Herman & Audrey, Toronto ON, June 2016.

Chromatic, Massive Art, Montreal QC, June 2016.

The Furniture We Are Forever Rearranging 2, Art Helix, Brooklyn NY, June 2016.

MAUREEN, MFA Collective, Ecole Des Beaux Arts, Montreal QC, May 2016.

MTL ZOO, Art Gang Gallery, Montreal QC, May. 2016.

The Furniture We Are Forever Rearranging, Grey Nuns, Montreal QC, Feb. 2016.

Fresh Paint New Construction, Art Mur, Montreal QC, Aug. 2015.

Chromatic, Montreal QC, May 2015.

Mtl ZOO, View Montreal. Montreal QC, Feb 2015.

Massive X, Art Gallery of Ontario. Toronto ON, April 2014.

Curiouser & Curiouser, JAANG Gallery. Sarnia ON, Feb-Apr. 2014.

SPREAD, Chapel Arts Vancouver, BC, June 2010.

Fandango, Truck Gallery. Calgary, AB, 2010.

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Cabin(et ), Vernon Public Gallery, Vernon, BC, Oct. 2008.

The Coming Night, Gallery Vertigo. Vernon, BC, Sept. 2008.

Orrinthaller & the Apnea of Speech. Alternator Gallery for Contemporary Art, Kelowna, BC, Aug. 2008.

Tales Untold, Vernon Public Gallery, Vernon, BC, March 2008.

DUO TONE 1-8, Emerging Arts Festival, Group show, Kelowna, BC, Aug. 2001-08.

Publications: ALAC | Psychedelics, Butt Funnels, and Cherry Bombs. La Contemporary Art Fair Review, ION Magazine, Feb 2013.

Originality – A Waste of Time! Member’s Voice, ARTDOXA blog, Oct. 2008.

On Common Ground, IMA Festival. Alternator Gallery for Contemporary Art. Kelowna, BC, July 2008.

Features & Artist Profiles: Strange Love, Into This Contemporary Art, Pod Cast, Artist Feature by Marx Ruiz Wilson. Montreal, June 2018.

Family Affair, Sweet Spot, Artist Feature. Montreal, May 2018.

ABJECT / AB-JETTE, Vitriol: Art and its Discontents, AHGSA Conference, Montreal, March, 2016 Forget the White Cube, Beatroute Magazine, Artist Feature, Polina Bachlakova. Vancouver Feb 2013.

Horizon ,25 Contemporary Regional Artists, Artist Profile by David Stansfeild, Vancouver BC 2013.

And All the Queens Men, Vue Magazine, Exhibition Review by Agnieszka Matejko. Edmonton Ab. 2012.

And All the Queens Men, Latitude 53 Exhibition essay Rachel Zottenberg. Edmonton, AB. 2012.

Two Heads Are Better Than One, OOPs Magazine Artist Profile by Randy Grsckovic. Vancouver, BC. 2012.

Ones to Watch, Ion Magazine Artist profile by Rachel Zottenberg. Vancouver, Montreal, Toronto 2012.

ION Magazine, 8th Anniversary Feature Artist, Vancouver, BC, May 2011.

Artist Profile, OOPs Magazine Artist Profile by Mayumi Kobayashi. Vancouver, BC, 2010.

Alluring the Collection, FFWD Magazine Art Review by Andrea Williamson. Calgary, AB. 2010.

Fandango, Truck Gallery, Exhibition Essay by Eric Moschopedis. Calgary, AB. 2010.

Studio Assistantships: Rebecca Belmore. Mold Making, RCA Montreal, Winter 2017.

Shary Boyle. Sculptor, Concordia University, Montreal, Winter 2015.

Seri-POP. Mold Making, De Gaspe Montreal, Winter 2015-17.

Justin Broadbent. Carpenter/Sculptor, The Hive, Toronto, Fall 2104.

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Jorden Blue Doody

twoartists.net

Curriculum Vitae

Education: Master of Fine Arts, University of British Columbia Okanagan, Kelowna, BC, 2018 - 2020 Costuming for Stage and Screen, Capilano University, Vancouver, BC, 2012 - 2013 Bachelor of Fine Arts, University of British Columbia, Okanagan Kelowna, BC, 2003 - 2008 Awards: Finch Family Graduate Award, 2020 UBCO Graduate Fellowship, 2019 SSHRC, 2019 Graduate Dean’s Entrance Scholarship, University of British Columbia Okanagan, Kelowna, BC, 2018 Rossie Grose-McFadden Award for Costuming, Capilano University, Vancouver, BC, 2013 Rita Watson Johnson Award, Capilano University, Vancouver, BC, 2013 Wayne Thesen Memorial Award, University of British Columbia Okanagan, Kelowna, BC, 2008 Helen Pitt Award, Outstanding achievement in the Visual Arts, University of British Columbia Okanagan, Kelowna, BC, 2008 Deputy Vice Chancellor Purchase Award, University of British Columbia Okanagan Permanent Collection, Kelowna, BC, 2008 Creative Work Experience: Teacher’s Assistant, University of British Columbia Okanagan, 2019-2020 Co-Director, Uptown Mural Festival, Kelowna BC, 2019 Head of Wardrobe, Concordia University Theater Department, Montreal QC, 2017 Head of Props, Concordia University Theater Department, Montreal QC, 2016 Art Instructor, Arts Umbrella, Vancouver BC, 2010 –2013 Art Instructor, Arts Blast Summer Camps, Kelowna BC, 2007- 2017 Corporate Commissions: Tricotés Serrés, Public Art commission for Québec 375, Montréal QC, 2020 Uptown Mural Project, Mural commission, Rutland BC, 2019 Constellations Festival, Mural Commission, Squamish BC, 2019 Key Bar, Mural commission, Vancouver BC, 2018 IBM Montreal, Mural commission, Montreal QC, 2016 We Work, Mural commission, Montreal QC, 2016 Osheaga Festival, Sculpture commission and public installation, Montreal QC, 2016 Light Speed Montreal, Interactive Sculpture commission, Montreal QC, 2015 Scenic Painter & Interior Design, The Emerald Lounge and Cabaret, Vancouver BC, 2013 Costume Designer and Set Dresser, “Official Trailer”, Artabon, Vancouver Short Film Festival, 2013

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Muralist & Branding, Center of Gravity, Kelowna BC, 2010- 2014 Visual Artistic Director, Keloha Indie Music Festival, Kelowna BC, 2013 Costume Designer and Set Dresser, “Eyes Wide Shut “, Artabon Promotional video, Vancouver BC, 2012 Interior Design & Mural, The Rumpus Room, Vancouver BC, 2011 Exhibitions: I Must Be Streaming, Kelowna Art Gallery, Kelowna, BC, 2020 The Lind Prize Award Exhibition, Polygon Gallery, North Vancouver, BC, 2020 Small Windows, FINA Gallery, UBCO, 2020 Printemps Au MAC, Fundraiser for Musee d’Art Contemporain, Montreal, QC, 2019 Pool, Chromatic Festival, Ecole Des Beaux Arts Montreal, QC, May 2018 Passage, Galerie COA, Montreal, QC, 2018 Point Blank, New City Gas Loft, Montreal, QC, 2017 Parallel, Laroche Joncas Gallery, Montreal, QC, 2016 Constant Reminders, Herman & Audrey, Toronto International Film Festival, 2016 Smash, Gardiner Museum, Toronto, ONT, 2016 Chromatic, Massive Art, Montreal, QC, 2016 Chromatic Traveling selection, Herman & Audrey, Toronto,,ON, 2016 The Furniture We Are Forever Rearranging 2, Art Helix, Brooklyn, NY, 2016 MAUREEN, Ecole Des Beaux Arts, Montreal, QC, 2016 ABJECT / AB-JETTE Vitriol: Art and its Discontents, AHGSA Conference, Montreal QC, 2016 Fresh Paint New Construction, Art Mur, Montreal, QC, 2015 Strange Love, Circa Gallery POPOP, Montreal, QC, 2015 Mural Festival, VIP Lounge, Montreal, QC, 2015 Mtl ZOO, Art Gang, Montreal, QC, 2015 Hollow Harbor, Alternator Gallery for Contemporary Art, Kelowna, BC, 2015 Massive Ten, Art Gallery of Ontario, Toronto, ON, 2014 Curiouser & Curiouser, JAANG Gallery, Sarnia, ON, 2014 The Wearing Want II, Inter-Urban Gallery, Vancouver, BC, 2013 Side Saddle, Campbell River Public Gallery, Campbell River, BC, 2012 The Wearing Want I, Good Luck Art Gallery, Vancouver, BC, 2012 And All the Queen’s Men, Latitude 53 Contemporary Visual Culture, Edmonton, AB, 2012 Trucks and Trannie”, GTTP Gallery, Vancouver, BC, 2011 SPREAD, Chapel Arts, Vancouver, BC, 2011 Fandango, Truck Gallery, Calgary, AB, 2010 Cabin(et), Vernon Public Gallery, Vernon, BC, 2008 Orrinthaller & the Apnea of Speech, Alternator Gallery for Contemporary Art, Kelowna, BC, 2008 Tales Untold, Vernon Public Gallery, Vernon BC, 2008 Anchor Tenant, Graduate Exhibition UBCO, Kelowna, BC, 2008 Duotone, Emerging Arts Festival, Kelowna, BC, 2001-08

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Features & Artist Profiles: I Must Be Streaming, KAG Show Article by Julie Hollenbach Strange Love, Into This: Contemporary Art Podcas, artist Feature by Marx Ruiz Wilson. Montreal, June 2018.

Forget the White Cube, Beatroute Magazine, Vancouver, BC. Artist Feature by Polina Bachlakova 2013 Horizon, 25 Contemporary Regional BC Artists. Artist Profile by David Stansfield 2013 And All the Queens Men, Vue Magazine, Edmonton, AB, Exhibition Review by Agnieszka Matejko 2012 And All the Queens Men, Latitude 53 Gallery Essay, Edmonton, AB, by Rachel Zottenberg, 2012 Two Heads Are Better Than One, OOPs Magazine, Vancouver, BC, artist Profile by Randy Grsckovic, 2012 Ones to Watch, Ion Magazine Artist Profile: Vancouver, Montreal, and Toronto, by Rachel Zottenberg, 2012 Artist Profile, OOPs Magazine Artist Profile, Vancouver, BC, by Mayumi Kobayashi, 2010 Alluring the Collection, FFWD Magazine Art Review, Calgary, AB, by Andrea Williamson, 2010

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jorden and david doody ¡ Electric Sleep

vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com

jorden and david doody Electric Sleep