44 ST CLARENS AVENUE_ Interior and exterior designs (Collaboration with homeowner Lisa Mann)
857 LANSDOWNE AVENUE_Interior and exterior designs with David Lieberman Architect (Project under construction)
928 DUNDAS STREET WEST_Second and third floor apartment above Black Hoof restaurant.
(Construction and Contracting by Doug Householder and Mischa Kapijimpanga)
102 ST. CLARENS AVENUE_Posterior addition. (W/C and Kitchen under construction)
3 MUTUAL STREET_Steel staircase to rooftop office and exterior lounge.
Steel stairs fabricated by IMAR Steel
132 MARGURETTA STREET_Ground floor renovation: Kitchen, Entrance closet/media center, Stairwell.
(Construction and Contracting by Doug Householder and Mischa Kapijimpanga)
Kitchen Cabinets by O'Sullivan Millwork
15 O'CONNOR DRIVE_Kitchen renovation.
Construction by Turkstra Contracting http://www.turkstracontracting.ca/
Cabinets by Aya Kitchens
Bartop and desk by Andy Johnson of Lost Coast Woodworking http://lostcoastwoodworking.com/
44 ST CLARENS AVE: Corner lot fence designed for backyard that converts to parking pad. Combination of wood, steel and concrete as well as gabion wall basket assemblage filled w/ river rocks. Design collaboration w/ homeowner Lisa Mann and technical consultant and fabricator Tom King (of Discrete & Discreet discreetanddiscrete.com)
10 COLLAHIE ST: Exterior entrance. Design for front porch, stairs and railing.
CANOE HUMP_Carport/storage on lane way in Brockton village for clients Emily Reed and Mark Blackstone (Design Build Project)
Build: Gene Mastrangeli and Kevon Dejardains
B650_10X10_ design for 10X10 sleeping cabin on tracks in Georgian Bay, Parry Sound (unrealized)
CITY SHED_design for 10x10 utility building in downtown Toronto for clients Kira Heineck and Simon Blackstone.
Shed construction: McWood Studios http://www.mcwoodstudios.com/
Hardscape and foundation: Kevon Dejardains and Alex Nardi (Two Stroke Landscaping)
CABIN B650_A split level sleeping and lounging cabin on small Georgian Bay Island. Collaboration with Architect Meredith Robb.
Contracting and Construction: Marshall Black Carpentry Inc.
Pendent Lights: Hans Agne Jakobsson (original production)
1. 4 Mackenzie Cr. Exterior staircase.
Collaboration w/ Scott Sorli and Josh Hall.
2. 10 Collahie St. Exterior stairs and railing.
Collaboration w/ Josh Hall and owner Rochelle Moncarz
3. Garden Ave. Interior staircase
Collaboration w/ Josh Hall of McWood Studios (http://www.mcwoodstudios.com/ and Method Homes (http://methodhomes.ca/)
4. Chelteham Ave. Interior staircase and glass partition
Collaboration w/ technical consultant and fabricator Tom King (of Discrete & Discreet discreetanddiscrete.com) and Method Homes (http://methodhomes.ca/)
1. Twisted Light_Stacked birch veneer plywood, threaded rod, light.(12"x12"x24") The stack of identical square segments of plywood w/ circular holes cut within pivot around a corner post allowing variable apertures where light escapes. When stacked uniformly upright it becomes an apparent solid block which can be used as a side table.
2. PLY-CHAIR_Birch veneer plywood, hardware (design collaboration w/ and Meredith Robb)
3. SIDEbedSIDE _Birch veneer plywood (design collaboration w/ Meredith Robb, fabricated by Andrew Burse)
4. LPBench_Maple plywood w/ steel brackets and rope lighting. (design collaboration w/ Josh Hall and Meredith Robb. Material for cushions are from old marimekko swatches and supergraphics done by Jennifer Robb)
5. MEDIA+_Birch veneer plywood, milk plexiglass, perforated steel, hardware.
These architectural drawings are mostly 2 point perspectives of entire sites as well as partial views. Some sections and elevations.
1. West Donlands_school/community facility
2. Ramsden Park_community facility
3. Santi Monica_community facility
These models are constructed from a variety of materials for a variety of projects. Some are more abstract and scaleless and some architecurally specific and contextual.
The kinetic sculpture Startracker was born out of a fascination with the mirrored sphere (aka Disco Ball). The resulting work oscillates between the physical presence of the enigmatic "star tracking" machine and the phenomenological projections of a collection of mirrors on and from an object onto the space based on its formal and functional logic. The resulting work is an experiential spectacle.
" Binary elliptical galaxies chasing each other around a room." _Lee Goreas.
It is a site specific work, meaning in this case, a work that was not created for a specific site but, a work that at once changes and adapts to the space it occupies.
Earlier experiments with applying mirrored squares in similar trajectories resulted in HIVE (2004), where many smaller mirrored squares were applied to a wasp’s hive. It’s result which was also a mimicry of the compound eye with the implied question of “why does the ocular structure of this creature in turn reflect its architecture?”
This sculptural work is anthropological (physical and to a lesser degree cultural) in its concerns, pseudo-archaeological if you will. I am interested in certain changes that occur in urban environments, the dis/integration of organic and industrial/utilitarian forms and the creation of sculptures that resemble societal remains. The construction of my images comes from ecological, phenomenological and ontological perspectives using found/recycled objects culled from the street, construction sites, city works and scrap yards.
In Element the addition of the stove elements to the sections of trees is one of material logic. The rings within a tree are testament to temperature and moisture change. The core of the tree acts as a memory to its environment. The spiral elements, while at first seeming to mimic the growth rings, in actuality replace the “body memory” of the tree with one continuous line. These stove elements are hooked up to sensors that are triggered to turn on and heat up in the presence of human movement, such as an outdoor light in a quiet suburban community.
The sculpture Transgression was inspired by my witnessing of trees growing in close proximity to chain link (or other metal) fences. The tree will often grow through, become part of and eventually deform the structure of the fence. This work uses different material logic. The chain link fence has been replaced with a metal mesh gurney (found at a construction site) that is used to lift humans from danger to safety, while at the same time keeping the body flat and straight as to not damage their internal workings. Instead of the fence, the gurney interrupts/is held in place by the tree. It is an anthropomorphic element horizontally posed diametrically with the tree. The idea of Spiral Log, runs parallel to the above two works, though in this case the two elements manifest themselves in the same formation.
When creating this sculptural series it is the process of what initially made me notice an object and what this object subsequently put me in mind of. This can be literal or symbolic in the materials’ formal or functional qualities. For example, Wishbone, is a found object, originally one of two support legs of a construction site barrier that has skeletal resonance. This image led to the creation of Carcass, which is made with the entire construction barrier, plus additional segments that I reconfigured to take on its biomorphic form. The same is true with the crutch. As an object, it looked to me as a single unit in a spinal column. I then searched the city Goodwill and Salvation Army stores, etc. (leaving a pair for someone who really needed them) until I had multiples to create the final sculpture Curvature of the Crutch.
The objects I choose as departures this work are informed by a moment of hallucination. I consider the resulting sculptures as “urban apparitions”. They are a narrative testimony to the paradox of creation through decay, of existence through remains.
My aim in this project would be further explore the “moment of hallucination” with a time-based medium such as video in conjunction with the sculptural form. I feel the “moment” could be extended to a state of mind when induced with extended images.
1. Go-Pro-Thro_Lee Goreas & Gene Mastrangel_ 2014
In Go-Pro-Thro, we have subverted the cameras popular use in extreme sports to the most basic of games, the game of catch. Where in the context of the ball has been replaced with a camera. Through this collaboration we explore the social/cultural relationship between new technology and its effect on the concept of play.
Psychotope #1 Transversality (Exterior- Interior)
Split screen with two dolly shots, one from the site (train) and one from the street (car). Footage is partially layered and has varying degrees of opacity to reveal both shots upon each other. Each path is syncopated with the city grid (Interior) that usually crosses the site (Exterior) at a bridge. This forces the footage to be at varying speeds.
Psychotope #2 Linearity
This event is a sequence of zoom shots (out-in) from along the site shot from approximately equal intervals. The shots are assembled at different opacities so one can view the site at different positions at once. There is never more than 4 at a time, one appearing and one disappearing every 10 seconds.
Psychotope #3 East Lodge-West lodge
Still/Pan/Blur – For Michael Snow
One 180 degree camera pan of the same apartment complex and concrete wall from the same spot is then reversed back to its origin. South-North and back to South. This is repeated throughout the sequence with changes in speed. Each change in speed is exponentially halved until the image is dematerialized and beyond into superimposition.
Psychotope #4 Different Orbits
360 degree camera pans, each in the opposite direction are layered upon itself twice at equal opacities. The shot departs from an extended shot facing South/East on the site, moving at the same speed. The sequence has 3 stills embedded in it which appear and fade out until the pans return to their beginning to continue the extended shot from which they departed.
360 degree camera pans, each in the opposite direction are layered upon itself twice at equal opacities. The shot departs from an extended slow motion shot facing East where the site intersects the city from atop the rail bridge. Moving at the same speed they intersect at 180 degrees for a moment of optical syncopation and then return to their point of departure.
These series are experiments in structuralist photography where instead of panning w/ the camera the camera is mounted and set to panoramic mode and it is the object in frame that pans.
1. MYSTERY TRAIN (1-14)
2. CAROUSEL (15-22)
Inspiration for these compositions arise out of the personal as well as literature, music, film and other media. The drawings are studies of human form, "life" drawing, ingrained in the formal tradition of “art" making born out of renaissance concerns. They are created with traditional drawing materials, done in black, white and greys, usually on a mid-tone brown paper. The drawings are done without any extraneous details so as not to detract from their overall carnal force. The works are concerned with the paradoxical closeness between love, beauty, and dissolution, ugliness and general repulsion. The essence of the expression in the drawings lies in their intuitive power. They are physical drawings disciplined line manipulations disguised seemingly as uncontrolled cataclysmic gestures. The images are intentionally deformed for compositional and conceptual purposes. It is resurrection through the drawing of anguish, torment and violence that charges this work.
“Architecture’s ultimate project is to sustain the originality of experience: it does so by catching its occupants in their own disorientation.” -Giles Prince from AA’s Discourse of Events
It is the question “Where am I?” and the sustaining of this question that drives the explorations for “Design in the Void”. The time based explorations are then developed with other media such as diagrams, drawings, sculptures/models and photography. It is a circular design process that is based on a making and remaking of the spaces. The project has become a network of forms and spaces that remains disconnected from the street. Its program is played out behind the scenes or with its back to the interiority of the city within a field of its own. They are formal and spatial interpretations in a mechanized yet performative manner.
This work has stemmed from explorations with time based media. These video works* are non-narrative and deal with simple variables of camera movements and the operational mechanisms within the camera; they are concerned with one’s perception in relation to these operations. The explorations are site specific experiments that have acted as catalysts for design proposals in vanishing post-industrial urban spaces along Toronto’s western rail corridor grouped under the title “Design in the Void”.
* Images are time lapsed stills of videos projected on models of these various sites.
Photographs and drawings are of the demolition of the Gardiner Expressway (Port of Toronto). Initial idea was to show these tangled nests of steel as public/sculpture though since I could not get permission, funding or a space for these massive works, the medium of photography was my option.
50 SHADES OF GREY_2014 (50 digital 8.5” X 11” prints)
NOTE: It is said that the human eye can decipher between 500-1000 shades of grey,
This series of photos was developed from an anti-graffiti by-law put into effect in Toronto. (See link below for full description of the Toronto Municipal Code on graffiti)
The by-law states, beyond that the creation of graffiti is illegal, that the owner of the building/property must remove the graffiti within 72 hours or pay a fine. The method which the owner/property manager often employs to remove or mask the graffiti is paint, which almost never matches the surface that the graffiti was applied.
My attention is drawn to the most ubiquitous surface of concrete where there seems to be even less attention to colour matching than any other material surface. Concrete is commonly, perhaps unconsciously, seen as infrastructure and placed in the same realm as foundations, sidewalks, walls and bridge structures and so common that the material is “non-existent”. Because of this perception of concrete, its grey colour is also seen as “non-existent” and it is regarded as less important and therefore much less of a challenge to match the reflected surface colouration (hue, tone, saturation etc.). The act is to cover the concrete quickly with any “non-colour” such as black, white or any grey warm or cold. This deed is deemed for them, as well as for the over-seeing city officials, as an acceptable conclusion. These anxious acts of covering graffiti become a kind of performance, automatic paintings against the clock that are minimal monochromatic and essentially “colour field paintings”.
THE DIRTY DOZEN: 12 photos from a now demolished factory building in downtown Toronto. The images are of individual panes of glass taken from within the building each showing a different method of glass repair involving a variety of materials adding elements and textures in the foreground. Instead of acting as windows to the world beyond they partially or fully obscure the view creating a plane of departure before the view can go beyond interfering and changing the aperture of the 12 frames and their compositions.
These images are of proposals I've been involved in for public art competitions solely or with others.
1. SPACE INVADERS (TORONTO SCULPTURE GARDEN) Derived from photo series of same title with fellow artist Jon Reed
2.AFTER-BURN-SUNSET (JARDINS DE METIS, QU.) with fellow artist Jon Reed. After-burn, or afterimage, is an optical illusion that refers to an image continuing to appear in one's vision after the exposure to the original image has ceased. By placing our visitor in a situation of prolonged exposure to a monochromatic light, we ensure that their vision will be overcome with its opponent colour. In Baroque fashion, we propose to create a hedge maze of green glass. Engulfing the visitor in a sea of green, allowing them a prismatic experience of reflection and observance of their fellow visitor. As they emerges from this maze of green, their vision will be tinted a rosy pink, creating an After-burn Sunset. This effect will be heightened by a garden of white, with forced perspective toward the horizon, which promises to extend this immersive rose coloured vision. But, not unlike paradise, this effect is fleeting. As one’s eyes readjust, this sunset illusion will be lost.
3.PRIMARY GEODESIC-SPHERE (WATERLOO, ON.) With fellow artist Jon Reed.
REGENT PARK (2014)
BOOK COVER DESIGN: "Greening the Maple" _Canadian Ecocriticisim in Context. Edited by Ella Soper and Nicholas Bradley.
Cover Photo: "Landscape as Portrait"_2012
EVIL . . . (For Vincent, 2011)
SPACE INVADERS (2011)
19 SUNSETS (2016)