182:. These drawings were researched in the Mammalogy Department at the American Museum of Natural History in New York during two residencies (2018, 2019). These drawings explore the intricate shadows cast by animal skulls and bones and offer a reflective space to consider the spiritual dimension of animals, our intertwined histories and future evolution. James Campbell in White Hot Magazine of Contemporary Art wrote: “In these drawings, harvested shadows make the dead animals that cast them live again, with otherworldly feral grace. This is no exercise in enervating nostalgia, but a demonstration of daunting draughtsmanship”.
247:. Other than this clue no further information is offered. In an exhibition essay about these works Martha Langford wrote that Simms “wants them for fraud, for the perpetration of pictorial fictions in her studio. Innumerable degrees of separation are between us the spectators, and these shadowy figures. Their masks find refuge in a painter’s studio, a place where photographic claims of truth and authenticity have no place. Simms creates zones of ambiguity and in-between.”
206:, René Viau wrote: “Though related to kitsch and referring to a world of consumerism and big-box stores, these canvases are clearly grounded in an historical pictorial tradition. This work is distinguished as much by skillful representation, for example, the inventive virtuoso renderings of the texture of fake fur, as by the emphasis on the overall surface and paint handling.”
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Simms practice is expressed in painting, painting installations, drawing and assemblages. She works in thematic series that are linked formally and conceptually. Her works aim to strike a balance between the observable and the implied, while exploring the fugitive nature of representation. For the
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past decade Simms has developed several series that feature animal forms – plush, taxidermy and bones – in paintings, drawings and sculpture. Her most recent works, as described by James
Campbell in White Hot Magazine of Contemporary Art, are "interrogatory and invitingly ambiguous.”
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In 2010, Simms completed a large number of small paintings on paper that explore two ambiguously related subjects: details of
Michael Jackson’s face from different periods of his life and close-ups of plush toys. These works were first presented in a solo exhibition,
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From 2010 to 2018 Simms worked with plush, creating three distinct painting series and a number of sculptures or “assemblages”. These works consider the
Disneyfication of reality portrayed by these ephemeral objects of our affections. In the exhibition catalogue for
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153:. Her work was the subject of a Bravo TV documentary in the Shaping Art series. Simms is the recipient of numerous grants from the
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Working with the bones and skins of animals considered vulnerable or endangered, Simms developed a large drawing series entitled
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Her work has been exhibited in galleries, cultural institutions, and museums in Canada and the United States, including the
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Based on mugshots of female offenders “wanted mostly for fraud”, Simms created a series of large portraits entitled
161:. Championing the work of other artists, she has curated many solo and group exhibitions that featured their works.
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after his funeral. The book also includes manipulated digital images and a selection of paintings from
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193:(2019), McBride Contemporary in Montreal (2019) and Super Dutchess in New York, NY (2019).
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Nature, © Canadian Museum of; Update: 2021-12-17, Last; Conditions, Terms and; Map, Site.
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Works from this series have been featured in several exhibitions, including the
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122:. She began painting professionally in 1991. Simms lives and works in
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1025:. Martha Langford. Montréal, Qc: Maison de la culture Marie Uguay.
1000:"Lorraine Simms looks at the way people try to mask who they are"
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457:"Visual arts: Wim Delvoye elevates the ordinary into high art"
227:, an illustrated book featuring her fictional interview with
189:(2021), the Illingworth Kerr Gallery in Calgary (2022), the
223:. In conjunction with this exhibition Simms published
719:"The Distance Between | Alberta University of the Arts"
270:"Lorraine Simms Biography – Lorraine Simms on artnet"
645:"Lorraine Simms' "Phantom" at Galerie Deux Poissons"
525:"Lorraine Simms' "Phantom" at Galerie Deux Poissons"
743:"Documents of Collapse | Beaty Biodiversity Museum"
433:"Documents of Collapse | Beaty Biodiversity Museum"
87:(born 1956) is a contemporary Canadian artist from
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669:"Des espèces menacées entre l'ombre et la lumière"
840:"Animal Antics: Why Lorraine Simms Paints Plush"
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393:: CS1 maint: numeric names: authors list (
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155:Conseil des arts et des letters du Québec
321:"CCCA Artist Profile for Lorraine Simms"
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864:"Haunted by You – Design Postimage inc"
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143:Musée national des beaux-arts du Québec
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649:Whitehot Magazine of Contemporary Art
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1054:MNBAQ Collections: Lorraine Simms
346:"FEATURED ARTIST: LORRAINE SIMMS"
296:"Featured Artist: Lorraine Simms"
210:Spectral and The Interview (2010)
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481:"Lift vs Drag | Paul Litherland"
1022:Lorraine Simms : Fugitive
573:Simms, Lorraine (2020-10-21),
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549:"«Phantom»: espèces menacées"
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159:Canada Council for the Arts
126:. She previously taught at
114:In 1990, she completed her
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1049:Lorraine Simms: Shadowland
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99:Lorraine Simms earned her
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375:Canadian Museum of Nature
191:Beaty Biodiversity Museum
187:Canadian Museum of Nature
174:Shadowland (2018–present)
151:Beaty Biodiversity Museum
139:Canadian Museum of Nature
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555:(in French). 11 May 2019
35:Montréal, Québec, Canada
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147:Beaverbrook Art Gallery
57:Painter, graphic artist
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221:Anna Leonowens Gallery
105:Ontario College of Art
45:Ontario College of Art
101:Bachelor of Fine Arts
771:McBride Contemporain
325:Concordia University
239:Fugitive (2006–2007)
132:Concordia University
120:Concordia University
116:Masters of Fine Arts
109:Concordia University
413:Collections | MNBAQ
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838:Tousignant, Isa.
409:"Simms, Lorraine"
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251:References
180:Shadowland
149:, and the
91:, Canada.
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926:cite book
723:auarts.ca
553:Le Devoir
107:in 1978.
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389:cite web
245:Fugitive
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