BIO
Eric Dymond is an artist who works with many tools and programming languages.
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :<br />
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
He graduated from the Nova Scotia College of Art and Design with a BFA in studio.<br />
He exhibited paintings in Toronto, Detroit, New York, Montreal and London during the 1970's, 1980's and 1990's. The paintings were created with sandblasted sprays employing formal themes from the history of painting (still life's , individual portraits, traditional landscapes) . These series appear minimal with repeating content and are a form of Serialism.
In the early 1990's he began working with digital media, building perl programs with TCL/TK, web sites (see the doorway on Leonardo) and stand-alone applications.
He continues working in all media, rejecting specialization.
A brief timeline :<br />
1976-On View -first exhibition held by Visual Arts Ontario
1977-One person show-Gallery 567
1978-One person show-Nancy Pooles Studio
1978-Group Exhibition-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Habatat Galleries,Detroit,Michigan
1979-One Person Show-Nancy pooles Studio
1980-New Artists-London Regional Gallery
1980-O.A.C.-group juried show
1981-One Person show-Nancy Pooles studio
1982-Group exhibition-Honey Sharp Gallery-Tanglewood,Mass.
1983-One Person show-Nancy Pooles studio
1983-Group Exhibition-Adam Gimbel Gallery-New York,N.Y.
1984-One Person Show-Grimsby Public Gallery
1985-One Person Show-Nancy Pooles studio
1985-One Person Show-Gallery 1667-Halifax,N.S.
1987-One Person Show-Kitchener Waterloo Public Gallery
1988-Group Exhibition-Market Gallery,Toronto
1990-Two person show-Brampton public Gallery
1990-One Person Show-Quan Schieder Gallery
1991-CD-Rom interacive/Philips Corp.
1991-Group Exhibition-Robert Kidd Gallery-Detroit,Michigan
1993-Group Exhibition-Market Gallery
1993-Marilyn (perl/tk)
1994-One Person Show-Schieder and Associates
1995-Group Exhibition-Bau-Xi Gallery
1996-The doorway (http://www.edymond.com/artseen/door.htm)
1997-Newmail (http://www.edymond.com/artseen/newmail.htm) part of Iceflow, the Images festival of Independent Film Toronto
(http://replay.waybackmachine.org/19980209225557/http://interaccess.org/iceflow/newmail.htm)
1997.1998,1999,2001 - http://www.netarts.org , see archives.
see my Rhizome portfolio and Furthfield for current web works and writings.
Collections:
Numerous public and private collections in Canada and the United States.
including,
City of Toronto
Kitchener Waterloo Public Gallery
Algoma Public Gallery
Kamloops Public Gallery
College of Physicians and Surgeons (Ontario)
commodify yr consumption
The difference between "I made this" and "I found this" is not as radical as the difference between "I" and "the other" (animal, emergent systems, aleatoric code, etc.)
But you do get a little caught up here. Finding and and saying "I saw this" is still removed from claiming a ready made as art. Making an object from the materials (code) around you could also breach the same object and appear as a ready made.
The distinction here isn't that *original* code is more creative than finding interesting surf experiences. The issue is the activities are vastly different. We seem to want a common ground in an arena that is pluralistic by it's very nature and will produce new human activities that are enclosed by the tech, but really not related in purpose or expression. Pall's microcodes are not related to Tom Moody's blog just because they appear on the net.
It's like comparing installation art to drawing, there's no point although they both appear in galleries. The networked experience is now richly varied and as difficult to compartmentalize as most art making in this century. At one time there was some common ground in new media, but I doubt that exists any longer.
Both Tom and Pall can be dealing with the other and still be themselves asserting their "I".
One thing of interest is how the "I" became the "we", and tribes formed around those definitions.
Eric
But you do get a little caught up here. Finding and and saying "I saw this" is still removed from claiming a ready made as art. Making an object from the materials (code) around you could also breach the same object and appear as a ready made.
The distinction here isn't that *original* code is more creative than finding interesting surf experiences. The issue is the activities are vastly different. We seem to want a common ground in an arena that is pluralistic by it's very nature and will produce new human activities that are enclosed by the tech, but really not related in purpose or expression. Pall's microcodes are not related to Tom Moody's blog just because they appear on the net.
It's like comparing installation art to drawing, there's no point although they both appear in galleries. The networked experience is now richly varied and as difficult to compartmentalize as most art making in this century. At one time there was some common ground in new media, but I doubt that exists any longer.
Both Tom and Pall can be dealing with the other and still be themselves asserting their "I".
One thing of interest is how the "I" became the "we", and tribes formed around those definitions.
Eric
New Discussion Section Policy
That's such a cool scan. I still think that fountain, as per Duchamps own pleading, was a porcelain vagina.
I just like that concept. Immersed in Freud, trying desperately to be contrary, the receptacle becomes the focus of our eyes. Yet our eyes can't experience the pleasure that the function/device demands.
Oh well
On a complete aside.
The analogue begets the digital, where so many think it all ends..., but what will the digital beget?
HAHAHAHAH
yes it's a quandary.
Where is the paper?
I just like that concept. Immersed in Freud, trying desperately to be contrary, the receptacle becomes the focus of our eyes. Yet our eyes can't experience the pleasure that the function/device demands.
Oh well
On a complete aside.
The analogue begets the digital, where so many think it all ends..., but what will the digital beget?
HAHAHAHAH
yes it's a quandary.
Where is the paper?
New Discussion Section Policy
The initial 1917 filtering of R. Mutt's "Fountain" was justified (in part) because it was a mass-produced, utilitarian, overtly commercial object.
I don't think that Fountain had anything to do with those reasons (in part or not) . In fact I am sure of it.
I don't think that Fountain had anything to do with those reasons (in part or not) . In fact I am sure of it.
immaterial material
well this has been an interesting thread. The gryst of it (thank you Joy) seems to be the ability or inability to
move from a disciplined virtual space ( the web) to a disciplined physical space (a gallery) in order to
communicate on a non/not networked platform.
The purist approach, which is valid should eschew the physical manifestation of the once networked idea. But is
that progressive?
I have to say it isn't.
And my saying it isn't is a big shift in my outlook on what was once titled new media.
what is a network?
Does it have to include the electronic exchange of data between computing devices?
Probably not.
I now work in pencil, paint, voice recording and networked devices using skype. Nothing we do is pure.
Patrick made a numer of references to art historical figures, Pollack, Duchamp etc. which brought some linear
hopefulness to a histoty of art that has been at the center of most serious discourse.
My complaint here is that this lineage is flawed, and flawed at the get go. I do not accept the historical flow
line that gives the once obvious derivations their power. Pollock did not beget Rauschenberg, who did not beget Basquiat ,who did not beget Cory Arcangel. They would have begotten themselves without each other..
With Duchamp and Warhol and Judd out of the way where am I?
Well I seem to be closer to Tom's take on the matter, but here I break away.
If freedom is an essential element of art making and that freedom is won honestly then I have to give in to the idea(s) that art can appear out of nothing, breaking the rules and assuming and consuming new spaces.
Build web sites that generate installations that evoke printers to make lithographs which inspire painters to call their agents demanding more money.
The existing world now embraces immaterial ideas embracing material facts and material facts generating immaterial
work. Not one of the strands of art making hold sway over the other. It is pure Diaspora now, and should be enjoyed,
embraced and vilified as is due. Paul Virillio states "the techno-scientific myth of the industrial omnipotence of man in space is imploding"
This failure of distance, this collapse of what is and what isn't is blurred beyond recognition.
There ya go.
Friday night never looked better.
move from a disciplined virtual space ( the web) to a disciplined physical space (a gallery) in order to
communicate on a non/not networked platform.
The purist approach, which is valid should eschew the physical manifestation of the once networked idea. But is
that progressive?
I have to say it isn't.
And my saying it isn't is a big shift in my outlook on what was once titled new media.
what is a network?
Does it have to include the electronic exchange of data between computing devices?
Probably not.
I now work in pencil, paint, voice recording and networked devices using skype. Nothing we do is pure.
Patrick made a numer of references to art historical figures, Pollack, Duchamp etc. which brought some linear
hopefulness to a histoty of art that has been at the center of most serious discourse.
My complaint here is that this lineage is flawed, and flawed at the get go. I do not accept the historical flow
line that gives the once obvious derivations their power. Pollock did not beget Rauschenberg, who did not beget Basquiat ,who did not beget Cory Arcangel. They would have begotten themselves without each other..
With Duchamp and Warhol and Judd out of the way where am I?
Well I seem to be closer to Tom's take on the matter, but here I break away.
If freedom is an essential element of art making and that freedom is won honestly then I have to give in to the idea(s) that art can appear out of nothing, breaking the rules and assuming and consuming new spaces.
Build web sites that generate installations that evoke printers to make lithographs which inspire painters to call their agents demanding more money.
The existing world now embraces immaterial ideas embracing material facts and material facts generating immaterial
work. Not one of the strands of art making hold sway over the other. It is pure Diaspora now, and should be enjoyed,
embraced and vilified as is due. Paul Virillio states "the techno-scientific myth of the industrial omnipotence of man in space is imploding"
This failure of distance, this collapse of what is and what isn't is blurred beyond recognition.
There ya go.
Friday night never looked better.
SAVED WORKS (2)
CURATED EXHIBITIONS (1)
