An essay written by Rose Bouthillier on the occasion of the exhibition One Once on Which Whatever What at AKA artist-run September 14-October 20, 2018. Download the PDF Ways of thinking just enough Troy Gronsdahl used these words to describe one of his chosen materials to me. This phrasing stuck in my mind, becoming a broader notion for thinking through his practice. While at first it might appear to imply offhandedness, or even a lackadaisical work ethic, neither is the case. There is a fine edge between not enough and too much. This tension is often apparent in Gronsdahl’s work; underscored, regarded and worried about. Whether through process, form, historical reference or sentiment, arriving at this edge is a delicate undertaking. It wavers constantly, impossible to hold. This enough sits on the surface of Gronsdahl’s ongoing series of cyanotype prints, When the cosmos aligned, if only briefly and largely unnoticed. The series started on March 20, 2015, marking the transition from winter to spring. Each print in the series corresponds with a cosmic phenomenon: most often an equinox or solstice, though recent additions include a total solar eclipse and an aphelion (the point at which the Earth is farthest from […]
The second in Dunlop Art Gallery‘s annual book series includes sixteen critical essays by Dunlop Curators and guest writers from across Canada. This lurvely, hardcover volume includes curator Blair Fornwald’s essay Writing in the Margins written in response to the exhibition Becoming Book that featured the work of yours truly with Lee Henderson and Eve K. Tremblay. Download DAG Volumes: No. 2 (2013) Writing in the Margins PDF
"The work’s title, and indeed the knot itself, suggest an ambivalent binding..." Artist and writer, Lee Henderson, has been commissioned to pen an essay in support of my latest video project, The Knot, currently on view at PAVED Arts.
Troy Gronsdahl’s installation “back and gone” is, as David LaRiviere describes in his essay on the work, a pursuit of the sense of vulnerability. It is true that the work continues Gronsdahl’s exploration and exposure of human frailty and vulnerability, with himself and his family and friends as the common subject of the exploration. Both as a visual artist and rap artist Soso, Gronsdahl pushes the audiences’ limits of comfort in their exposure to human imperfections, vulnerability and loss. In the work “back and gone” Gronsdahl takes this exploration to a new level by putting the viewer into a controlled environment that has the potential to elicit comfort or distress.
Installation plays with movement, space and silence by Bart Gazzola Planet S Magazine, Saskatoon, SK Troy Gronsdahl’s latest exhibition, Back and Gone, at Paved art and new media, is uncomfortably intimate — and to anyone who’s familiar with his past studio work (or his music, which he makes under the soso moniker) this shouldn’t be a surprise.
For some time now Troy Gronsdahl has pursued a sense of vulnerability in his artistic practice, the kind of visceral reckoning that establishes eye contact, and one in which the interlocutor is forced to acknowledge and deal with the compromised state of his subject. the generosity of mechanics (is not well documented), for example, is a short video work from 2008 in which we encounter a man standing quietly before the camera exhibiting forbearance in the face of persistent tremors endemic to Parkinson’s disease. The key word here may well be “encounter”, which generally connotes an unexpected meeting, one that may even entail a confrontation of sorts. The particular character of Gronsdahl’s preferred encounter is important because it is not constituted out of a confrontation with the subject so much as it is an internal confrontation with our own attitudes and insecurities. As we find this man standing before us, with no soundtrack to offer narrative refuge, we must deal with the humanity of the situation in a manner that transfers and thereby implicates our own, human condition. This dynamic resonates in Gronsdahl’s earlier work as well, such as the 2003 video installation We always thought that she would be […]
Celebrating, with resounding exuberance, the wealth of talent amongst the diverse population of emerging artists in Saskatchewan, Mind the Gap! displays contemporary visual art by 30 artists. Comprehensive and ambitious in scope, the exhibition offers insight into the trends, innovations, energy and interests evident in the artwork of our contemporary artists who have mapped our province geographically, cerebrally and artistically.