CHRIS DORLAND

Chris Dorland works at the intersection of painting and digital media with an emphasis on examining the ways in which surveillance technologies perceive, record and reproduce. Dorland uses a variety of screens, drones and other optical devices to compose images that explore the tenuous boundaries between physical and digital environments. Neither fully abstract nor representational, Dorland's paintings and videos are a haunting meditation on the intrusive technologies that increasingly distort our understanding of reality.

BIO:

Chris Dorland was born in 1978, and grew up in Canada and the United States. 

Solo exhibitions of Dorland’s work include: New Day at Lyles & King in New York City (2021); Active User & FLR-13 at Nicoletti Contemporary in London, UK (2020); Synthetic Skin at Super Dakota in Brussels, Belgium (2019); Sun Stalker at Aetopoulos in Athens, Greece (2018); Civilian at Lyles & King in New York City (2018); Density Build at Practise in Chicago, USA (2017); Entertainment Hardware at Museo Nacional De Bellas Artes in Santiago, Chile (2014); Simulations at Rhona Hoffman Gallery in Chicago, Illinois (2008); and New Work at Marc Selwyn Fine Art in Los Angeles, California (2008).

Numerous museum group exhibitions have shown Dorland’s work, including: Abstract Art in the Age of New Media at the Museum of Contemporary Digital Art, available online (2021); Digital Infinity at the Front International Triennial in Cleveland, Ohio (2018); After Hours: Bowery Gates Shutter Project, at the New Museum/Art Production Fund in New York City (2011); and Future Tense: Reshaping the Landscape at Neuberger Museum in Purchase, New York (2008).

Work by Dorland is held in public and private collections, including: the Whitney Museum of American Art in New York City; The Bronx Museum of the Arts in New York City; the Neuberger Museum of Art in Purchase, New York; the Soho House; and the Microsoft Art Collection; among others.

Dorland was recently profiled in the April 2021 issue of Frieze magazine, in Natasha Stagg’s essay “Painting the End of the World,” as well as in ArtReview’s VR Vertigo series. 

Dorland lives and works in New York City.