David Armstrong
David Scott Armstrong is a conceptual print-artist, combining photography and serial drawing. He grew up in Saskatchewan and Alberta, attending the University of Saskatchewan, and earning his BFA from the University of Alberta in 1995. In 2000, he completed an MFA degree at the University of Western Ontario, and since 2003, he has been teaching at York University’s School of the Arts, Media, Film & Design.
Both his artwork and his writings explore the parameters of print-making and concept of time-based media. His work also explores the way painting and photography have been enfolded into print-making. (After Turner) (2007) is a series of prints based on, and commenting upon, the process and works of another artist, J.M.W. Turner. Armstrong’s sequence of prints is produced by opening the camera lens, or ‘iris’, to different lengths of exposure – thus creating an opening to time, and the contingent act of looking. Bowl (Or, an Unlikeness) (2014) comprises twelve images of a cracked bowl that explore the relation between image and object. In 2008, he co-edited and wrote for a special issue of the journal Visible Language entitled After the Grave: Language and Materiality in Contemporary Art.
Armstrong’s prints, drawings and book-works have been exhibited nationally and internationally, including in the US, Estonia, Japan, Russia and Brazil. Two of his prints from Dark Garden were included in the Kyoto International Print Exhibition shown in the Kyoto Municipal Museum of Art (2016) and at the University of Alberta Museums Enterprise Square Gallery (2017).
Both his artwork and his writings explore the parameters of print-making and concept of time-based media. His work also explores the way painting and photography have been enfolded into print-making. (After Turner) (2007) is a series of prints based on, and commenting upon, the process and works of another artist, J.M.W. Turner. Armstrong’s sequence of prints is produced by opening the camera lens, or ‘iris’, to different lengths of exposure – thus creating an opening to time, and the contingent act of looking. Bowl (Or, an Unlikeness) (2014) comprises twelve images of a cracked bowl that explore the relation between image and object. In 2008, he co-edited and wrote for a special issue of the journal Visible Language entitled After the Grave: Language and Materiality in Contemporary Art.
Armstrong’s prints, drawings and book-works have been exhibited nationally and internationally, including in the US, Estonia, Japan, Russia and Brazil. Two of his prints from Dark Garden were included in the Kyoto International Print Exhibition shown in the Kyoto Municipal Museum of Art (2016) and at the University of Alberta Museums Enterprise Square Gallery (2017).