2023: Gallery 44 'Blue' annual member exhibition.
July 14th -July 28th 2023.
Image-Homage series 'Bluewall' Donald Sultan.
401 Richmond Street west 4th Fl. Toronto,Ontario
2023: CAPIC 'Xpose'
June 8th-July 2nd
Todmorden Papermill Gallery
67 Pottery Road, Toronto
2022: 'Gallery On the Pond' Fogo Island, Newfoundland
Images from Homage Series
Whiteonwood, Newfoundland
2021; Sooke Fine Arts Society
Online Gallery-
Homage Series
Sooke, British Columbia
2021: New Photographers Gallery
'Birds in the wild side Exhibit'
Image: Freedom
Sidney, British Columbia
2020: CONTACT-Scotiabank Photography Festival
March 12 - April 11, 2021
The Cardinal Gallery
1231 Davenport Road
Toronto, Ontario M6H 2H1
2020: Artist in Residence Show
Dylan Ellis Gallery
'ongoing work'
1681 Dundas Street West
Toronto, Ontario. M6K 1V2
Saturday February 29- March 31 2020
2019: Best in Show
GUM dichromate print from the series ‘Roadworthy’
September 3rd-26th 2019
Connection Gallery
1840 Danforth Ave.
Toronto, Ontario
2019: CONTACT-Scotiabank Photography Festival
Xpose 2019 CAPIC Opening Reception Thursday May 23rd 2019 from 6-10pm
May 24th to June 2nd 2019
A Gum dichromate print from the series ‘Roadworthy’
The Papermill Gallery at Todmorden Mills
67 Pottery Road,
Toronto, Ontario.
2019: CONTACT-Scotiabank Photography Festival
HOMAGE-
Opening Reception May 17 6-9pm
May 16,2019-June 30 2019
GUM dichromate print from the series ‘Roadworthy’
Connections Gallery
1840 Danforth Avenue
Toronto, Canada
2019: The Halide Project
Homage
GUM dichromate print from the series ‘Roadworthy’
March 1-17 2019
1627 N 2nd street
Philadelphia, USA
2018: CONTACT-Scotiabank Photography Festival
May 15-June 30 2018
Opening Reception May 17, 2018
Eight ‘GUM’ dichromate prints from the series ‘Roadworthy’
Connections Gallery
1840 Danforth Avenue
Toronto, Canada
2018: CAPTURE-Photography Festival
SERIES-A group Photography Exhibition
Eight ‘GUM’ dichromate prints
April 12-17 2018 at the Playground
434 Columbia Street,
Vancouver B.C.
2017: CONTACT-Scotiabank Photography Festival
‘The Great Hall’ at the Ontario College of Art and Design University.
Four images from ‘Roadway’ series...
100 McCaul Street
Toronto, Ontario
2016: Dylan Ellis Gallery CONTACT Scotiabank Photography Festival
2016: Show held in ‘The Great Hall’ at Ontario College of Art and Design
University
from group show ’Chalk Square’ from ‘Roadway’ series
May 11-31 2016
100 McCaul Street
Toronto, Ontario
2016: Dylan Ellis Gallery
Group shows images from ‘Roadway’ series Title ‘Chalk Square’
1840 Danforth Avenue
Toronto, Ontario
2016: CONTACT Scotia Photography Festival
“The Great Hall’ at Ontario College of Art and Design University
Group show four images from ‘Creative Source’ series ‘Titles.’
100 McCaul Street
Toronto, Ontario
2014: CAPIC- Todmorden Papermill Gallery,
Title ‘Swimming Dog’’
Toronto, Ontario
2014: Dean’s Office-Ontario College of Art and Design University
Titles ‘Swimming Dog,
and ‘Hammer and Glove’ from the series “Found, but not Lost’
Dean’s Office- Dr. Sara Diamond President and Vice-Chancellor, ORD, Ontario: RCA
51 McCaul Street
Toronto, Ontario
1985-2013 CAPIC Gallery shows over the years
Held in various locations in Toronto, such as Ontario Place
Toronto, Ontario
My career began on the commercial side of the business, dealing with lighting, composition & all the logistics of creating images designed to sell products or services.
But over the past 15 years, my work has morphed from a job to a passion. And with that change has come a new and different style of photography for me.
I am now a seeker of images that speak to me in an organic way. Street images that say ‘photograph’ me. My work is about the organic confluence of physical elements that the artist’s brain sees, captures and interprets to reveal an idea.
Shapes, lines, colours, light and the interplay of all of these elements are the ingredients.
The results of this exploration are images that are, in my view, are pure, simple and reflect the beauty & variety everyday organic design.
Working in this way makes me feel connected to the world around me, and capturing these types of images is one of my principal sources of joy and artistic satisfaction.
I have become so interested in this work that I have even taken a part time job (one day a week) with a friend who owns a courier company as a driver to maximize my exposure to the street and expose myself to more and more of these images.
These images are what I refer to as ‘roadworthy’ because they are the direct result of my spending so much time driving and walking the city streets in search of them.
For the past 9 years, I have taught digital photography at the Ontario College of Art and Design University in Toronto, Canada to 1st and 2nd year design students.
Gum printing is a way of making photographic reproductions without the use of silver halides. The process uses salts of dichromate in common with a number of other related processes such as sun printing.
When mixtures of mucilaginous, protein-containing materials together with soluble salts of dichromate are exposed to ultraviolet light, the protein content becomes tanned and resistant to solution in water. The untanned material can be washed away in warm water leaving a hardened, tanned protein negative.
For gum printing a solution of gum Arabic is mixed with either potassium or ammonium dichromate. The higher the proportion of dichromate, the more sensitive the mixture. However, increasing the concentration of dichromate also reduces the contrast, which is very low at best. The right concentration of
dichromate is always a compromise between speed and contrast.
Using ammonium dichromate allows concentrations up to 15% of the active ingredient whereas potassium dichromate is limited to about 10%. Exceeding these concentrations results in deposits of chromic acid in the dried film, which ruins any attempts at printing. The greatest sensitivity expressed as an ASA speed rating is estimated to be about ASA 0.003. The resulting mucilaginous mixture is spread on a suitable base and allowed to dry in the dark. A contact negative the same size of the finished print is then placed on top of the dried coating and exposed to an Ultraviolet light source,typically bright sunshine.
Often more than one negative is used to provide detail in all tonal ranges. Using multiple exposures requires very careful registration..In exposing the paper, the thinnest parts of the negative will allow the most exposure and cause the areas to be darker.The densest parts of the negative require more exposure.
The exposed print is then developed gradually in a succession of trays of still water (approximately ten-minute intervals) at room temperature until the bath water is clear.The gum is soft and easy removed at this stage. The negative is then carefully dried when the negative image will be visable as raised areas of clear colourless gum. This surface can then be inked using proprietary oil-oil-based printing ink and impressions made using a simple pressure printing press. Each negative can be made to yield several copies or even copies in different colours. However the fragile nature of the dried gum surface usually will restrict re-use to only one or two copies.