“Chinese Whispers”, Clint Roenisch Gallery, Toronto, January 27 - March 5, 2011
The broad multidisciplinary practice of Hugh Scott-Douglas situates itself at the confluence of a number of critical, socio-political, economic, and aesthetic observations and investigations. Interrogating relationships between analogue and digital modes of production, works from his 2011 OCAD thesis exhibition “Chinese Whispers” made use of a wide range of techniques and media, from laser cutting, inkjet printing, and photography, to inventive manipulations of furniture and textiles. Held at Clint Roenisch Gallery, the exhibition attracted considerable interest for its cohesive presentation of paintings, monoprints, sculptures, and installation elements. With it edges left slightly raw and its seductive translucent layers hinting at a veil-like multiplicity, works like “Untitled” refer to their material means of production. Taking visual cues from such diverse sources as minimalism and Op art as well as digital signage, Scott-Douglas’s shimmering material experimentation embodies a “formalism that is in tension—working both towards and against a static form.”
