Chris Dorland is a Canadian/American artist working across painting, digital collage and film. Using a variety of screens, scanners and drones, Dorland is interested in the ways in which machines increasingly perceive, record and reproduce the world through data visualization, scanning hardware and other optical devices. Dorland’s role in the studio is that of a technician as he moves between the scanning devices and printers, allowing the various machines to document, distort and produce new images of the world. Evoking a dystopian vision of the human-built world filtered through the sublimated violence of abstraction, consumerism and technology, Dorland’s paintings and Alumacore panels are created with images that are filtered and glitched through successive operations of iterations and translations of data. The resulting compositions are superimpositions of distorted images and varyingly pixelated elements which evoke fluctuating planes of perception upon which alternately dissolve and materialise physical objects and numerical fields.
Chris Dorland (b. 1978, Canada) lives and works in New York, USA. Selected solo exhibitions: Active User & FLR-13, NıCOLETTı, London, UK (2020); Synthetic Skin, Super Dakota, Brussels, BE (2020); Sun Stalker, Aetopoulos, Athens, GR (2018); Civilian, Lyles & King, New York, USA (2019); Density Build, Practise, Chicago, USA (2017); Happiness Machines, Super Dakota, Brussels, BE (2016); and Entertainment Hardware, Museo Nacional De Bellas Artes, Santiago, CL (2014). Selected group exhibitions: NADA Miami, Super Dakota, Miami, US (2019); Frieze NY, Lyles & King, US (2019); Front International, Cleveland Triennal for Contemporary Art, Cleveland, US (2018); without Nature, NICOLETTI, London, UK (2018); Dead Eden, Lyles & King, NY, US (2018); Hybrid Objects, L’INCONNUE, Montreal, CA (2016); Painted Perfect, Anonymous Gallery, Mexico DF, MX (2013); Lucie Fontaine at ESTATE, Marianne Boesky, New York, US (2012); After Hours: Bowery Gates Shutter Project, New Museum/Art Production Fund, New York, US (2011); The Exquisite Corpse Drawing Project, curated by David Salle, Gasser Grunert Gallery, New York, US (2010); VOR GOTT IST ALLE KUNST SCHEISSE, curated by David Ostrowski, Dusseldorf, DE (2010). Selected public and private collections: Whitney Museum of American Art, New York, USA; Bronx Museum of Art, New York, USA; Neuberger Museum of Art, New York, USA; Microsoft, USA; and Soho House Group, UK.