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This work is not disaster porn. Rather is a response to a growing tendency toward a pseudo-nostalgic faux aestheticization of misery. The work was made in 2015 long before the world went completely to hell. Cherry-picking at will from mutually exclusive sources, the design of this series (“Work # 754: Some Bullet Holes 01-10”) is a group of arrangements that evoke and parodies the rigor we’ve come to expect from much of the official record of 20th… century avant-garde art with the base emotionalism and irrational behaviour ripped from the morning headlines – this allowed me to explore the spaces between these charged relationships. These ten works are vaguely reminiscent of those by Mondrian, [except he hated green] but their logic is undercut by demonstrations of violence enacted against a variety of materials rendering them damaged beyond repair.
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