{"id":33001,"date":"2016-03-19T12:10:16","date_gmt":"2016-03-19T16:10:16","guid":{"rendered":"http:\/\/www.artoronto.ca\/?p=33001"},"modified":"2016-04-14T20:55:27","modified_gmt":"2016-04-15T00:55:27","slug":"max-dean-im-late-im-late-at-stephen-bulger-gallery","status":"publish","type":"post","link":"https:\/\/v2.artoronto.ca\/?p=33001","title":{"rendered":"Max Dean: I\u2019m Late, I\u2019m Late at Stephen Bulger Gallery"},"content":{"rendered":"

Traditionally, art has associated with the address of serious themes, depicting macroscopic or personal perceptions surrounding emotional, psychological, social, economic, historical, literary, spiritual or even aesthetic issues. In effect, this conveys the sense of art\u2019s legitimacy as an intellectual discipline, as it is commonly considered. However, there have been many exceptions where art avoids solemn content, or approaches it with joviality and amusement. There are the playful elegance of the Rococo era, the blunt sarcasm of the Dadaists, the colorful vitality of the Fauvists (otherwise known as the wild beasts), and today, the visual playfulness of Max Dean with their resonant sense of wonderment. I\u2019m Late, I\u2019m Late<\/em> is a collection of photographic images that tell a sequential narrative, however the individual pieces can work both independently or cooperatively and still attract the viewers\u2019 curiosity.<\/p>\n

\"\"<\/a>Installation view of Max Dean,\u00a0\u00a0I\u2019m Late, I\u2019m Late,<\/em>\u00a0Stephen Bulger Gallery, 2016.\u00a0<\/em>Photo: Simon Termine<\/p>\n

Dean\u2019s photographs demonstrate a considerable deal of planning and intricacy, however it is presented in such a humorous or immersive manner that alleviates the tension of the unknown. Essentially, the narrative orients around the journey through a miniature realm separate yet still imbedded within reality. Like an Alice in Wonderland story, it encourages you to traverse \u201cfurther down the rabbit hole\u201d alongside his own experience, though the sublime fairy-tale elements are replaced with something more familiar. The first half of Dean\u2019s narrative manipulates banal objects into seemingly expansive environments that transition from one to the next: mountains made of books, bridges made of rulers, and the protagonist, within his toy car, voyaging to his destination. The final panel depicts a small man parachuting from a cliff, cleverly transitioning between dimensions.<\/p>\n

\"\"<\/a>Jungle Studio, 2014\u00a0<\/em>\u00a9 Max Dean, Courtesy of Stephen Bulger Gallery<\/p>\n

The second half begins with Dean\u2019s landing into the world, where the subject manner converts from miniature objects to human-sized environments: from an illusionistic atmospheric perspective to a close introspective one. Here, he traverses and interacts with the synthetic landscape as a pioneer in a new world. Each scene \u2013 whether he is struggling through a hostile swamp, moving stones into a structural garden, or catching insects with his travelling companion \u2013 invites you to share in his whimsical discoveries and engage it with the same na\u00efve open-mindedness.<\/p>\n

\"\"<\/a>Dropping In, 2014\u00a0<\/em>\u00a9 Max Dean, Courtesy of Stephen Bulger Gallery<\/p>\n

\"\"<\/a>Swamp, 2014\u00a0<\/em>\u00a9 Max Dean, Courtesy of Stephen Bulger Gallery<\/p>\n

Aside from this continuous narrative, his other photographs feature storage spaces crowded with climbing ladders. However, their real context stems from the finalizing piece: a composite image depicting dualism between an upper and lower realm, almost like the medium between earth and sky with high-rises or monuments peering through. The ladders clamber towards the clouds, either lingering just below the barrier or elevating above it. Dean himself is in the midst of his own ascension, resting right between the two dimensions to show his foothold in both. It suggests a sort of man-made heaven and earth with apparent human attempts to try and cross the divide. However, the general sense of ambiguity, stemming from the practicality and simplicity of the entire scene, allows for a wondrous degree of personable subjectivity.<\/p>\n

\"\"<\/a>Perplexed, 2014\u00a0<\/em>\u00a9 Max Dean, Courtesy of Stephen Bulger Gallery<\/p>\n

Dean\u2019s exhibition is an incredible assemblage of his fun-loving journeys, rife with oddity, creativity, and immersive curiosity. He effectively assembles industrial and mundane objects to depict convincingly fantastical settings and crafty transitions, blurring the distinction between the realistic and the imaginary.<\/p>\n

Simon Termine<\/p>\n

*Exhibition information: March 5 – 26, 2016,\u00a0Stephen Bulger Gallery, 1026 Queen Street West, Toronto. Gallery hours: Tue \u2013 Sat, 11 am \u2013 6 pm.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

by Simon Termine<\/strong><\/p>\n

Dean effectively assembles industrial and mundane objects to depict convincingly fantastical settings and crafty transitions, blurring the distinction between the realistic and the imaginary.<\/p>\n

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