Puddle Buddies | Jason de Haan
2021
17 x 22 inches
Edition of 15, 4 APs
ABOUT THE ARTWORK
Working responsively and according to various encountered conditions de Haan’s projects explore resonance, broadcast, unseen forces, concentration, residuals, synchronicity and activation. His practice is diverse, with a wide and increasingly multidisciplinary approach to sculpture, collage, drawing, photography, video, text, and book works. Starting points often emerge from intersections between mythology, magic, science fiction, geology, and geographical sites of invisible forces and powerful histories. Densely symbolic and complex, his narratives are open-ended and ongoing propositions to be experimented with and altered.
Puddle Buddies is one of a large and ongoing series of collages developed from an extensive collection of images (both photographed by the artist & found) generated during research into geological processes (including fossilization and coal formation), transformation of material states, unpredictable material contingencies, simultaneity, ecological disasters, and exchange between bodies (living and non). Like a number of his previous works Puddle Buddies also considers the unfolding, accumulation and compression of vast and unfathomable timescales.
ABOUT JASON DE HAAN
Jason de Haan is an artist living in the Badlands of Southern Alberta, the traditional territory of the Blackfoot Confederacy. de Haan has exhibited his work nationally and internationally, including projects at Contemporary Art Gallery (w/ Corbin Union), Vancouver (2021); Clint Roenisch, Toronto (2018); Esker Foundation, Calgary (2017); De Fabriek, Eindhoven (2016); Kitchener-Waterloo Art Gallery (2016): Art Gallery of Nova Scotia, Halifax (2014); and Southern Alberta Art Gallery, Lethbridge (2012). His work has also been included in a number of group exhibitions, including u’s, Diamond Valley (2020); Kling & Bang, Reykjavik (2019); and MASS MoCA, North Adams (2016). Together with Miruna Dragan he co-organizes Badlands Art Department, an artist residency and press.
In 2020 de Haan was co-recipient of the Sobey Art Award, representing the Prairies and the North. His work has been featured and reviewed in a number of publications, both in print and online, including Canadian Art, Momus, Art in America, Mousse and Art Forum. de Haan holds an MFA from the Milton Avery Graduate School of the Arts, Bard College.
Selected solo exhibitions: OSOSO (with Corbin Union), curated by Kimberly Phillips and Julia Lamare, Contemporary Art Gallery, Vancouver, BC (2021); Swamp Watch, curated by Gabriel Hörner, Museo de la Ciudad, Querétaro, MX (2019); Oh! For Eyes! At Night We Dream of eyes! curated by Naomi Potter and Shauna Thompson, Esker Foundation, Calgary, AB (2017); Swallow Brains, curated by Paul Segers, de Fabriek, Eindhoven, Netherlands (2016).
Selected Group exhibitions: The Mushroomat the End of the World by Anna Lowenhaupt Tsing, organized by Sean MacAlister, u’s, Diamond Valley, AB (2020); Really, curated by Hildigunnur Birgisdóttir & Ingólfur Arnarsson Sequences Festival, Reykjavik, IS (2019); Explode Every Day, curated by Denise Markonish, MASS MoCA, North Adams, MA (2016); Performing the Landscape, curated by Lorenzo Fusi, Illingworth Kerr Gallery, Calgary, AB (2016); Rocks, Stones and Dust, curated by John G. Hampton, Art Museum, University of Toronto, ON (2015); Booming Grounds, curated by Jesse Birch, Nanaimo Art Gallery, BC (2015).
2021
17 x 22 inches
Edition of 15, 4 APs
ABOUT THE ARTWORK
Working responsively and according to various encountered conditions de Haan’s projects explore resonance, broadcast, unseen forces, concentration, residuals, synchronicity and activation. His practice is diverse, with a wide and increasingly multidisciplinary approach to sculpture, collage, drawing, photography, video, text, and book works. Starting points often emerge from intersections between mythology, magic, science fiction, geology, and geographical sites of invisible forces and powerful histories. Densely symbolic and complex, his narratives are open-ended and ongoing propositions to be experimented with and altered.
Puddle Buddies is one of a large and ongoing series of collages developed from an extensive collection of images (both photographed by the artist & found) generated during research into geological processes (including fossilization and coal formation), transformation of material states, unpredictable material contingencies, simultaneity, ecological disasters, and exchange between bodies (living and non). Like a number of his previous works Puddle Buddies also considers the unfolding, accumulation and compression of vast and unfathomable timescales.
ABOUT JASON DE HAAN
Jason de Haan is an artist living in the Badlands of Southern Alberta, the traditional territory of the Blackfoot Confederacy. de Haan has exhibited his work nationally and internationally, including projects at Contemporary Art Gallery (w/ Corbin Union), Vancouver (2021); Clint Roenisch, Toronto (2018); Esker Foundation, Calgary (2017); De Fabriek, Eindhoven (2016); Kitchener-Waterloo Art Gallery (2016): Art Gallery of Nova Scotia, Halifax (2014); and Southern Alberta Art Gallery, Lethbridge (2012). His work has also been included in a number of group exhibitions, including u’s, Diamond Valley (2020); Kling & Bang, Reykjavik (2019); and MASS MoCA, North Adams (2016). Together with Miruna Dragan he co-organizes Badlands Art Department, an artist residency and press.
In 2020 de Haan was co-recipient of the Sobey Art Award, representing the Prairies and the North. His work has been featured and reviewed in a number of publications, both in print and online, including Canadian Art, Momus, Art in America, Mousse and Art Forum. de Haan holds an MFA from the Milton Avery Graduate School of the Arts, Bard College.
Selected solo exhibitions: OSOSO (with Corbin Union), curated by Kimberly Phillips and Julia Lamare, Contemporary Art Gallery, Vancouver, BC (2021); Swamp Watch, curated by Gabriel Hörner, Museo de la Ciudad, Querétaro, MX (2019); Oh! For Eyes! At Night We Dream of eyes! curated by Naomi Potter and Shauna Thompson, Esker Foundation, Calgary, AB (2017); Swallow Brains, curated by Paul Segers, de Fabriek, Eindhoven, Netherlands (2016).
Selected Group exhibitions: The Mushroomat the End of the World by Anna Lowenhaupt Tsing, organized by Sean MacAlister, u’s, Diamond Valley, AB (2020); Really, curated by Hildigunnur Birgisdóttir & Ingólfur Arnarsson Sequences Festival, Reykjavik, IS (2019); Explode Every Day, curated by Denise Markonish, MASS MoCA, North Adams, MA (2016); Performing the Landscape, curated by Lorenzo Fusi, Illingworth Kerr Gallery, Calgary, AB (2016); Rocks, Stones and Dust, curated by John G. Hampton, Art Museum, University of Toronto, ON (2015); Booming Grounds, curated by Jesse Birch, Nanaimo Art Gallery, BC (2015).
2021
17 x 22 inches
Edition of 15, 4 APs
ABOUT THE ARTWORK
Working responsively and according to various encountered conditions de Haan’s projects explore resonance, broadcast, unseen forces, concentration, residuals, synchronicity and activation. His practice is diverse, with a wide and increasingly multidisciplinary approach to sculpture, collage, drawing, photography, video, text, and book works. Starting points often emerge from intersections between mythology, magic, science fiction, geology, and geographical sites of invisible forces and powerful histories. Densely symbolic and complex, his narratives are open-ended and ongoing propositions to be experimented with and altered.
Puddle Buddies is one of a large and ongoing series of collages developed from an extensive collection of images (both photographed by the artist & found) generated during research into geological processes (including fossilization and coal formation), transformation of material states, unpredictable material contingencies, simultaneity, ecological disasters, and exchange between bodies (living and non). Like a number of his previous works Puddle Buddies also considers the unfolding, accumulation and compression of vast and unfathomable timescales.
ABOUT JASON DE HAAN
Jason de Haan is an artist living in the Badlands of Southern Alberta, the traditional territory of the Blackfoot Confederacy. de Haan has exhibited his work nationally and internationally, including projects at Contemporary Art Gallery (w/ Corbin Union), Vancouver (2021); Clint Roenisch, Toronto (2018); Esker Foundation, Calgary (2017); De Fabriek, Eindhoven (2016); Kitchener-Waterloo Art Gallery (2016): Art Gallery of Nova Scotia, Halifax (2014); and Southern Alberta Art Gallery, Lethbridge (2012). His work has also been included in a number of group exhibitions, including u’s, Diamond Valley (2020); Kling & Bang, Reykjavik (2019); and MASS MoCA, North Adams (2016). Together with Miruna Dragan he co-organizes Badlands Art Department, an artist residency and press.
In 2020 de Haan was co-recipient of the Sobey Art Award, representing the Prairies and the North. His work has been featured and reviewed in a number of publications, both in print and online, including Canadian Art, Momus, Art in America, Mousse and Art Forum. de Haan holds an MFA from the Milton Avery Graduate School of the Arts, Bard College.
Selected solo exhibitions: OSOSO (with Corbin Union), curated by Kimberly Phillips and Julia Lamare, Contemporary Art Gallery, Vancouver, BC (2021); Swamp Watch, curated by Gabriel Hörner, Museo de la Ciudad, Querétaro, MX (2019); Oh! For Eyes! At Night We Dream of eyes! curated by Naomi Potter and Shauna Thompson, Esker Foundation, Calgary, AB (2017); Swallow Brains, curated by Paul Segers, de Fabriek, Eindhoven, Netherlands (2016).
Selected Group exhibitions: The Mushroomat the End of the World by Anna Lowenhaupt Tsing, organized by Sean MacAlister, u’s, Diamond Valley, AB (2020); Really, curated by Hildigunnur Birgisdóttir & Ingólfur Arnarsson Sequences Festival, Reykjavik, IS (2019); Explode Every Day, curated by Denise Markonish, MASS MoCA, North Adams, MA (2016); Performing the Landscape, curated by Lorenzo Fusi, Illingworth Kerr Gallery, Calgary, AB (2016); Rocks, Stones and Dust, curated by John G. Hampton, Art Museum, University of Toronto, ON (2015); Booming Grounds, curated by Jesse Birch, Nanaimo Art Gallery, BC (2015).