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Expressive of a charged synthesis between distinct types of mark- letter and stroke- his works appear as the visual equivalents of utterances, whether poignant or pointed… or of how we receive and interpret these. The twisting knife of a smartass remark, the threatening anonymity of a clinical evaluation, and the famous-last-words potential of pillow talk are articulated in his oeuvre with a chromaticism their ruthlessness seems to beg. Many paintings seem to emphasize tone as it denotes both voice and color , implying at once the intensity of the experience a given message or phrase insinuates, and the private stamina required to endure its meaning on the one hand, or its ambiguity on the other. At times broadcasting the artificial vibrancy of candy or cosmetics, his palette suggests how the moth might see the flame. Riding on the success of this initial exhibition, Gillmore moved to New York City in Douglas Coupland, Angela Grossmann, Derek Root and Atilla Richard Lukacs all figured prominently in the development of his early career and remain good friends to this day. With that intinctual excoriation turned on himself, it appears that the artist achieves a pervasive sympathy with the human quandary, one that in its lacerating irony is all the more sincere. During the past 20 years he has positioned himself internationally developing a stellar reputation across Canada, the United States and in Europe. He considers himself to be largely self-taught, but credits his friends from art school as having had the most profound affect on his work. Employing puns and punch lines both lewd and mawkish, and referencing cliches, board games, rebuses, barroom banter, and graffiti, his paintings are by subtle turns playful, earnest, and caustic. Thus while rage, disgust and disillusionment seem to propel it, his art is also tempered by a humor that is all the more expansive, even forgiving for this, and which acts as the grace note essential to beauty. At times surrounded by bubbles that are interlinked via intestinal networks of lines, the letters and syllables he depicts take on lives of their own, as though reverberating in the mind suggestively, or suspiciously, connoting an overwhelming variety of possible meanings that appear to jostle for recognition.

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Expressive of a charged synthesis between distinct types of mark- letter and stroke- his works appear as the visual equivalents of utterances, whether poignant or pointed… or of how we receive and interpret these. The twisting knife of a smartass remark, the threatening anonymity of a clinical evaluation, and the famous-last-words potential of pillow talk are articulated in his oeuvre with a chromaticism their ruthlessness seems to beg. Many paintings seem to emphasize tone as it denotes both voice and color , implying at once the intensity of the experience a given message or phrase insinuates, and the private stamina required to endure its meaning on the one hand, or its ambiguity on the other. At times broadcasting the artificial vibrancy of candy or cosmetics, his palette suggests how the moth might see the flame. Riding on the success of this initial exhibition, Gillmore moved to New York City in Douglas Coupland, Angela Grossmann, Derek Root and Atilla Richard Lukacs all figured prominently in the development of his early career and remain good friends to this day. With that intinctual excoriation turned on himself, it appears that the artist achieves a pervasive sympathy with the human quandary, one that in its lacerating irony is all the more sincere. During the past 20 years he has positioned himself internationally developing a stellar reputation across Canada, the United States and in Europe. He considers himself to be largely self-taught, but credits his friends from art school as having had the most profound affect on his work. Employing puns and punch lines both lewd and mawkish, and referencing cliches, board games, rebuses, barroom banter, and graffiti, his paintings are by subtle turns playful, earnest, and caustic. Thus while rage, disgust and disillusionment seem to propel it, his art is also tempered by a humor that is all the more expansive, even forgiving for this, and which acts as the grace note essential to beauty. At times surrounded by bubbles that are interlinked via intestinal networks of lines, the letters and syllables he depicts take on lives of their own, as though reverberating in the mind suggestively, or suspiciously, connoting an overwhelming variety of possible meanings that appear to jostle for recognition. Sex club canada teen videos nude

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  1. With that intinctual excoriation turned on himself, it appears that the artist achieves a pervasive sympathy with the human quandary, one that in its lacerating irony is all the more sincere.

  2. With that intinctual excoriation turned on himself, it appears that the artist achieves a pervasive sympathy with the human quandary, one that in its lacerating irony is all the more sincere.

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