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In his April 2018 centerfold profile of Art Monthly, the London-based critic David Gleeson stated that “April 5, 2015 (My Bedroom)” archly nods at two celebrities – Tracey Emin and Quentin Crisp. Just as Emin fashioned a self-portrait installation from the detritus that had built-up after a long stay in and around her bed, so Eves does the same from dust, hair, and general rubbish collected from the floor of his bedroom. Plus Crisp’s excuse for not… doing housework as dust gets no worse “after the first four years”, this work is described by the artist himself as ‘a pointedly ugly pile of crap’, and is a disdainful critique of the kind of art Emin’s bed represents, i.e. mounds of rubbish . . . praised as baroque. At the time of writing, his work is being presented at the National Gallery in Ottawa and a documentary film profile is being edited. This is a powerful work of self-deprecation by and artist who is nothing if not fearless."
Bruce Eves was the recipient of the Governor-General’s Award for Outstanding Achievement in the Visual and Media Arts in 2018 and was the subject of Peter Dudar’s feature-length documentary “Bruce Eves in Polari” that premiered at The Power Plant. Eves was ranked 26th on the Alt-Power100 list compiled by ArtLyst (UK). In the past he was assistant-programming director at the Centre for Experimental Art and Communication (CEAC) in the late 1970s; and throughout the 1980s was the co-founder and chief archivist of the International Gay History Archive (now housed in the Rare Book and Manuscript division of the New York Public Library). Eves continues an active practice of exhibiting and curating on the cutting-edge, and in recent years has pushed the envelope further by expanding his work to include spoken-word projects performed monthly at the Black Eagle bar’s Dirty Queer Poetry Nights. Eves lives and works in Toronto and seeks representation. His CV can be viewed at www.bruceeves.net