Kim Dorland

Burnt, 2018

oil and aluminum
48x60 in.

Kim Dorland’s interest in the “the edges of things” the altered forest, the graffitied or otherwise changed forest, has become a dominant theme in his work. While obvious connections to The Group of Seven (Fireswept, Algoma by Franz Johnston for instance) can be made, the connections to Dorland’s own life are more compelling. With alterations to and situations in which he places Canadiana – from the iconic Hudson’s Bay blanket to the Tom Thomsonesque forest – Dorland comments on our fascination with defining things and defining periods in Canadian history.

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