Artwork by Kim Dorland,  Untitled (Lori)

Kim Dorland
Untitled (Lori)

oil and acrylic on wood panel
signed, titled and dated 2015 on the upper edge; unframed
10 x 8 ins ( 25.4 x 20.3 cms )

Auction Estimate: $3,000.00$2,000.00 - $3,000.00

Price Realized $3,450.00
Sale date: June 1st 2016

Angell Gallery, Toronto
Private Collection, Toronto
“You Are Here: Kim Dorland and the Return to Painting”, McMichael Canadian Art Collection, 2013
Katerina Atanassova, Robert Enright and Jeffrey Spalding, “Kim Dorland”, Vancouver, 2014, reproduced page 144
Tim Powis, “Kim Dorland: Beautiful Stuff,” (online) Canadian Art, 10 May, 2013
Working in his signature technique of thickly applied paints, “Untitled (Sevres Green Lori)” depicts the artist’s wife, Lori Seymour. The importance of the material and its limitations are at the fore, negotiating the tension between fluorescent and muted pigments. The portrait was exhibited with the McMichael Canadian Art Collection in 2013 for the “You Are Here: Kim Dorland and the Return to Painting.” Challenging contemporary modes of portraiture in the age of photography and digital reproduction, Dorland explains: “I literally just started piling on the paint because I wanted to remind the viewer they they're not photographs; they're paintings.”

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Kim Dorland

A native of Wainwright, Alberta, Dorland relies heavily on his tumultuous experiences growing up, translating into works that challenge preconceived notions of the Canadian wilderness. He studied at the Emily Carr Institute of Art and Design in Vancouver before earning his MFA at York University in Toronto in 2003. Dorland was also an artist-in-residence at the McMichael Canadian Art Collection in 2014.

With an emphasis on demystifying the idea of terra nullius—the void, pristine, virgin land often idealized by historical Canadian painting and art history—the artist often incorporates contemporary figures and objects in a rugged environment emphasizing one's place in the landscape. Dorland works in a variety of media, including neon pigments, spray paint and even inkjet technologies. Works often include hidden symbols and references to the relationship humans have on the landscape they inhabit. Graffiti, cars, toys and modern infrastructure populate Dorland’s landscapes, making a contemporary comment on the traditionally barren Canadian landscape throughout art history. In each work, strong formal elements of line, contrast, and colour figure prominently to create visually complex imagery. In doing this, the artist forms a dialogue with celebrated twentieth century Canadian painting technique rather than a rejection of tradition.

As one of Canada's leading contemporary painters, Dorland exhibits frequently in Canada from coast to coast at the institution and gallery level with regular art fair participation in Toronto and New York. His works are part of the collections of The Art Gallery of Alberta, Musée d’art contemporain de Montréal, Bank of Montréal, Royal Bank of Canada, and The Glenbow Museum among many other private and international collections.