435 King Street East, Cambridge, ON
Salvaged Landscapes is an apt description of both the materials and theme behind Brantford-based artist Dave Hind’s artwork. Featuring meticulously rendered landscapes unexpectedly constructed out of reclaimed aluminum siding, this ongoing body of work depicts the intersection between rural and urban landscapes.
Dave Hind is an artist, musician and maker of functional objects. His practice is grounded in the reclamation and reuse of industrial materials. His work has been exhibited throughout Canada, and in Japan and the United States. He has an upcoming exhibition at the Glenhyrst Art Gallery of Brant and his recent exhibitions include; “Grimsby Trees”, an outdoor installation at the Grimsby Public Art Gallery (2008), “TH&B”, 270 Sherman, Hamilton (2008), “Two Degrees of Separation”, University of Waterloo Art Gallery (2005); “Group of Seven Revisited”, Cambridge Galleries (2005); “Time Has Three Dimensions”, Elgin House, London (2004); and “Entitled”, University of Waterloo Art Gallery and Burlington Art Centre (2001/2002). His work was awarded Best in Show at the 44th Toronto Outdoor Art Exhibition in 2006. The artist lives and works in Brantford.
List of Works
QEW @ Guelph Line, 2008. With Sarah Baker and Dawn Hacket. Reclaimed aluminum siding. 5ft 4in x 4ft
Spruce Splice, 2008. 2 pieces 2ft with Sarah Baker. Reclaimed aluminum siding. 5in x 3ft 5 in
London, 2008. With Dawn Hacket and Sarah Baker. Reclaimed aluminum siding. 3ft 8in x 5 ft 4in
B and B Tree, 2008 and beyond. With Dawn Hacket, Tim Southern, and the grade 3 and 4 class at the Sage Program, Hamilton 2006, an ongoing collaborative effort. Reclaimed aluminum siding. 11ftx 6ft
Silver Sucker, 2007. With Aubrey Underdown, Dawn Hacket, Sarah Baker, and the grade 3 and 4 class at the Sage Program, Hamilton 2006. Reclaimed aluminum siding. 5ft 10in square
TH&B Branch, 2008. With Sarah Baker. Reclaimed aluminum siding. 4ft6inx5ft 6in
Tavistock, 2006. Reclaimed aluminum siding. 4ftx5ft
Great Big Prune, 2007. With Jordon Comely. Reclaimed aluminum siding. 4ftx5ft
by Ivan Jurakic, Curator, Preston.
At their most basic, Hind’s constructions can be described as a kind of paint-by-numbers assemblage but his images are geographically rooted. His grommeted reliefs depict ordinary landscapes found throughout Southern and Southwestern Ontario, often bearing straightforward names like QEW @Guelph Line or Tavistock. Typically, trees are the dominant central motif in each composition. Routinely contrasted in relation to hydro poles, passing cars and housing developments, Hind’s trees are iconic reminders of urban encroachment, a phenomenon occurring at a rapid rate across the region. 1
As an artist, Hind has an abiding interest in the reuse of materials, and abhors waste. Having been given a barn full of aluminum siding, an industrial material commonly used as inexpensive cladding for homes, he has developed an impressive technique in which he not only recycles the material but creatively renovates it. Making art out of detritus has become an increasingly familiar method of artmaking, but it is the artist’s method of fabrication that packs a visual punch. Who knew that aluminum siding came in so many shades and colours? Hind succeeds in transforming this rather unforgiving material into thought-provoking iconographies.
As the boundaries between suburban sprawl and undeveloped rural spaces become increasingly blurred, we face a quandary. As a society we value greenspaces and profess our concern for the environment, but despite the many “green” initiatives promised by both industry and government, there seems to be little or no deterrent to the rate of urban expansion or commercial rezoning. In a region that trumpets its Green Belt status; we witness fertile farmlands bulldozed to make way for enormous homes or yet another Power Centre.
Hind appreciates the inherent value and necessity of natural and undeveloped open spaces and his art allows us to share his appreciation. Alluding to the inevitability of change, transformation and passing, his works are arresting tactile depictions of our troubling contemporary landscape.
1. Ironically, Hind’s studio, a workspace situated on the outskirts of Brantford, is a perfect example of this phenomenon. When I first visited a few years ago there was nothing but open fields and a few modest homes surrounding it. Today, a new subdivision has arisen fully formed on his doorstep.