Mark Strowbridge

Dil Hildebrand’s paintings pile suggestions and images on top of each other

DETAILS

Homologous Fields by Dil Hildebrand & Tyler Los-Jones
Truck
Friday, October 9 - Thursday, November 5

More in: Visual Arts

When the question “What do you see in this picture?” is asked, there is often only one answer. If it's a painting of a horse, it's a horse; a woman, the answer's a woman. But when there are entire worlds in a single canvas, what is it that's there? Asking that question is an important one when encountering the five paintings and one sculpture included in the new exhibition at Truck Contemporary Art in Calgary, “Homologous Fields.”

The two artists, Montreal-based Dil Hildebrand and Calgary's Tyler Los-Jones, are united by a common interest to explore the potentials that lie beyond the traditional techniques of their chosen mediums by examining “perceptual space” — the way in which viewers orient themselves physically and mentally when interacting with works of art. Hildebrand's paintings are chaotic and alien, whereas Los-Jones's sculpture is a labyrinth of suggestions and allusions.

Four of Hildebrand's five paintings are similar in style, piling suggestions and images one on top of each other in what, initially, appears to be painted anarchy on canvas. In the introductory piece, Untitled, Hildebrand has strips of canvas peeling off the front to figuratively simulate layers of meaning, with highly contrasting colours like pink and green jostling for dominance and dollops of crusted paint at the bottom. Behind the noise and distraction of the layers is a blurry image, recognizable as a forest scene. Such scenes in his paintings make for a foundation from where the viewer can begin: moving from the recognizable into the unrecognizable and visual play. It is a charming start, one that leaves a lot for the eye to take in and the mind to ponder.

The Blues, the second of five pictures from Hildebrand, is one of the largest canvases on display. In terms of technique, The Blues is the strongest of the five paintings. It has incredible emotional potential and a flurry of colours, distinct details and is unrestrained by traditional colour combinations and placement. There is a subtle tragedy to this picture. Like Untitled, it is anchored by a blurred mountain-and-valley scene. The blue in the sky pops and jars pleasingly with the greens and browns. What is at work here is a contrast between clarity on the right and confusion on the left — order and chaos. Hildebrand has simulated damage to the canvas on the left side by again utilizing layers of canvas strips and colour for an examination of the potential in the human mind to simultaneously see the order and destruction of nature in a single glance.

On the floor next to The Blues, is Black Hole, Los-Jones's sole contribution to the show. As an object, it certainly is attractive: It is painted with black liner spray for truck beds, which gives its a palpable texture and roughness. This texture contrasts nicely with the glass-like insides, rich in reds, blues and purples. It is thought-provoking, regarding the nature of space (literally in its title), but does not have the same kind of energy and maturity that much of Hildebrand's works do.

Rounding out the show are three more pieces by Hildebrand. Coulee is distinct from his other paintings and is one of the most captivating pieces in its deceptive simplicity. The smoothly painted surface is halting, the masterful transitions from grey into midnight blue to black instill a haunting and chilling atmosphere. In the mid-right space there is the shadowy eye of a partially exposed face, gazing out from the darkness. It is impressive.

Untitled, next to Coulee, is the most chaotic of all the works, with its piles of images and mountains of layered paints swarming at the bottom. It is a little overwhelming in energy and noise, but captivating in its visual cues. Two Pines, the final piece, rivals The Blues in size, but not in intensity. It has a clever design, with what appears to be Earth-bound meteorites burning up in pink flames, bordered on the edges with pink paint, but it does not have the same depth of thought and emotional resonance as The Blues.

Although a small show, Homologous Fields is generous as a visual feast. It is, however, more of a solo show, with Hildebrand's works clearly dominating.