SEAN ALWARD

Vancouver-based artist Sean Alward creates works that explore the intersection of materials and historical consciousness, delving into the intricate narratives woven into Canada's past. His art exposes the often-hidden consequences of progress and the lasting impact of human actions on the environment. The "Dark Salon" series, available at ADDITION, features still-life oil paintings that challenge traditional notions of the genre. Alward conflates still-life, portraiture, and history painting, sublimating an interest in human figuration and historical narrative into depictions of found objects that hold diverse meanings.

Alward assembles found objects and ephemera, each imbued with the weight of history. Each object tells a story: the beaver felt hat, the basis of an early economy; the coal-powered steam train, a symbol of the fossil-fueled revolution; sticks, a reminder of simpler folk times; gold, a symbol of the relentless pursuit of riches; dirt, representing paint, land, and real estate; the black glass bottle, like an intoxicating genie; and coins, embodying material value.

In his studio, Alward transforms these objects into subjects for his paintings. Glistening copper nuggets and pennies, mirror the allure of gold in our technology-driven era, while imitation gold metallic fabric whisper of the extravagant dreams ignited by the Gold Rush, their opulence starkly contrasting with the ecological devastation caused by mining practices. The recurring motif of the railway emerges as a potent symbol of both transformation and exploitation. Coal-fueled steam locomotives evoke the arduous labour and perilous conditions endured by countless workers, while plumes of smoke obscure watchful eyes, hinting at the unseen forces that shaped—and continue to shape—the nation's development. The battered top hat another recurring motif in his work, a poignant reminder of the sacrifices made in the pursuit of social status, speaks to the hidden costs of industrialization and the often-overlooked human toll. Historically treated with mercury during the felting process, this seemingly innocuous accessory becomes a metaphor for the toxic consequences of vanity and the societal pressures that prioritize appearances over well-being.