BIO

The artwork of David Spriggs lies in a space between the 2 and 3 dimensions. In his work he explores phenomena, space-time and movement, colour, visual systems and surveillance, the strategies and symbols of power, and the thresholds of form and perception. Spriggs is known internationally for his unique large-scale 3D ephemeral-like installations that use a technique he pioneered in 1999 layering transparent images. David Spriggs is currently based in Vancouver, BC. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. He received his Master of Fine Arts from Concordia University, Montreal, and his Bachelor of Fine Arts from Emily Carr University in Vancouver. He undertook student residencies at Central St. Martin’s College of Art in London, England (1999) and the Bauhaus University in Weimar, Germany (2006). He has exhibited internationally at galleries and museums such as: Musée de La Poste Paris, Powerlong Museum Shanghai, Messums Wiltshire UK, Arsenal Montreal, the Prague Biennial 5, the Louis Vuitton Gallery Macau, and at the Sharjah Art Museum UAE. His work can be found in many prestigious collections such as: Hyatt Centric Hong Kong, Queens Marque Halifax, the Montreal Museum of Fine Arts and the National Museum of Fine Arts of Quebec.

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Acrylic on layered plexiglass in LED lit plexiglass display case, 32 x 8 x 33 inches

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Form is the visible configuration of parts coming together into a shape or structure. The Cubists painted objects simultaneously from many viewpoints in one image. In effect, they were representing how we perceive and how we understand a form from a combination of many viewpoints. It is in our mind that we join these various viewpoints together to understand of how an object resides in space.  In a similar manner, the separate multiple layered images in the artwork ‘Gravity’ are collectively joined together in our mind to reveal the sense of a three-dimensional form.  We perceive all the images of ‘Gravity’ simultaneously as a form, but one without boundaries.

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The implied motion around a central axis in the artwork ‘Gravity’ is not unlike the circular navigation of the viewer who walks around the work in order to comprehend its three-dimensional nature.