Good news! Oliver Girling has been looking at art in Toronto too, and he’s blogging about it here:
Dorland’s paintings are neither abstract nor essentialist. On the contrary, they’re coiled into the material world, oil paint oozing directly out of tubes or splodged and scumbled on linen canvases; drawn to subjects that are twisting, like a chain link fence, or graffiti-writing swirls, or the knotted Hudson Bay blanket on a woman as she sits up in bed: an objective architecture, rather than the architecture of the artist’s psyche.
They’re particular, almost photographic, but avoid the spatial claustrophobia of scenic photography through optics like a sudden burst of pink dayglo paint. In the painting “Fireworks”, three shooters line up under a massive plume of smoke and go up, yet the effect of the bursts is as modest and spritely as cocktails in ‘50s magazine illustrations. But what I love is the afterglow, in pink dayglo, around balconies and doorways in the courtyard.
In “After the Party”, he has produced the most convincing image yet of that most inescapable contemporary cliché: a woman checking her Facebook. What I really like is her splayed feet in the high-heeled pumps – very well observed; and the pale quality of the streetlights in late dawn.
After the Party
But the piece de resistance has to be “Bay Blanket”, the fantastically roiled Hudson’s Bay complementing the woman’s emotional face, destroyed by thick paint, and contrasting with hundreds of neat little framed souvenir pix on the attic wall behind her.
– blogpost by Oliver Girling