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	<title>Doug Dumais</title>
	<link>https://dougdumais.com</link>
	<description>Doug Dumais</description>
	<pubDate>Sun, 10 May 2026 16:03:55 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://dougdumais.com/Home</link>

		<pubDate>Fri, 26 Jun 2020 19:21:52 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

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		<title>Channelling</title>
				
		<link>https://dougdumais.com/Channelling</link>

		<pubDate>Sun, 10 May 2026 16:03:55 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

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ChannellingGroup ExhibitionJune 13, 2026 - January 3, 2027Confederation Centre Art Gallery, 145 Richmond St.Charlottetown, PEICurated by Pan Wendt

Inspired by a grand Victorian painting of an Alpine waterway commissioned by an eccentric German baron for his Nova Scotia mansion, this exhibition presents the work of contemporary East Coast artists grappling with the contradictory aesthetic inheritances of Romanticism and colonialism. Artists include Alfred Schoeck, D’Arcy Wilson, Doug Dumais, Gustav Amberger, Janice Wright Cheney, John Greer, and Ryan Josey, among others.
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		<title>Ultra Deep Field</title>
				
		<link>https://dougdumais.com/Ultra-Deep-Field</link>

		<pubDate>Sun, 10 May 2026 16:03:36 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

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Ultra Deep Field
Ultra Deep Field is a series inspired by constellations. Featuring people, animals, and places in my local area, almost all of these images were created with the lens pointed toward the corresponding constellation’s precise location in the sky at that exact moment. Certain photographs employ an in-camera process using a flash, retroreflective motion-capture dots, and a six-point star lens filter. This technique mimics the diffraction spikes seen in the James Webb Space Telescope’s infrared imagery of stars and galaxies, collapsing the distance between my immediate surroundings and stars thousands of light-years away.

For millennia, stars have inspired humanity to create stories. Mesopotamian and Greek cultures feature narratives of mythological heroes, creatures, and animals placed in the sky by the gods as constellations, immortalizing their actions through light. In Ultra Deep Field, the camera serves a similar purpose, capturing and monumentalizing my immediate surroundings, elevating the local and mundane to the ethereal status of a constellation.
My fascination with the cosmos began in childhood, looking through my father’s telescope and contemplating the vastness of space. To view light that has travelled millions of years is to encounter the outer limits of our scientific understanding of time and physics. My images treat my local environment like an ultra deep field, seeking to chart moments and minutiae that typically go unnoticed. As physicist Carlo Rovelli writes, “[a] scientist is someone who lives immersed in the awareness of our deep ignorance, in direct contact with our own innumerable limits.” This project seeks to evoke the same feeling of brushing up against the mystery and unknowability of not only our universe but our own familiar surroundings.
This project was made possible thanks to Innovation PEI’s Arts Grants Funding.


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		<title>Circulations</title>
				
		<link>https://dougdumais.com/Circulations-1</link>

		<pubDate>Fri, 21 Feb 2025 20:17:37 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

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CirculationSolo ExhibitionFebruary 28 to April 22, 2025. Struts GallerySackville, New Brunswick



From 1933 to 1936, the Carnegie Corporation of New York hired librarian Nora Bateson to establish a regional library system on Prince Edward Island. Over three years, Bateson traveled across PEI in a library car she designed, equipped with fold-out shelves and 300 books. She set up her mobile library at conventions, fairs, and meetings to build community support for public libraries. Before the 1933 demonstration, PEI had only three libraries. By 1935, thanks to Bateson's advocacy and the communities’ positive response, there were 22. 

Nearly 90 years later, Doug Dumais retraced Bateson’s steps, visiting PEI’s 25 existing libraries to photograph these unique spaces, collect stories from librarians and patrons, and document their roles within their respective communities. 

Circulations features Dumais’ photographs of these journeys, which explore the enduring importance of “third spaces,” highlight tensions between rural and urban communities, and demonstrate the value of community ownership over public space. Each image in the exhibition is meticulously digitally edited and layered with text, stickers, and labels from scans of book jackets borrowed through the PEI library system and interlibrary loans. 

The pairings of images and book jackets are historical (Morell: It’s History, 1980), political (Nora Bateson’s “Rural Canada Needs Libraries,” 1944), poetic (Dionne Brand’s The Blue Clerk, 2018), thematic (W. G. Sebald’s Austerlitz, 2001), or personal (Esther Kinsky’s River, 2017). These combinations transform the photographs into layered visual narratives, encouraging viewers to see libraries as more than physical spaces but texts that can be read—uncovering the overlapping histories of these vital publicly funded institutions and the communities they serve. 

This photography project was made possible thanks to Innovation PEI’s Arts Grants Funding. 


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CirculationsSolo ExhibitionDoug DumaisFebruary 27 to May 25, 2024. Charlottetown Library Learning CentrePresented by this town is smallCharlottetown, PEI

About the Artist

Doug Dumais (he/him) is a camera-based artist based in Charlottetown, Epekwitk (PEI). A self-taught artist, Dumais holds a master’s degree in art history from Concordia University (2019). He has exhibited&#38;nbsp;at The Guild, the City Hall Art Gallery in Ottawa, This Town Is Small, ARTCH Montréal, and Galerie La Castiglione. His work has been included in private and public collections, including the City of Ottawa Art Collection and the PEI Art Bank. 






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		<title>Double Takes</title>
				
		<link>https://dougdumais.com/Double-Takes</link>

		<pubDate>Fri, 11 Nov 2022 23:09:51 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

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Double TakesSolo ExhibitionDoug DumaisNovember 17, 2022 - January 14, 2023Hilda Woolnough Gallery @ The Guild, 111 Queen StreetCharlottetown, PEI

Opening Reception: Friday, November 18, 2022, from 5 to 7 p.m.

At first glance, the images in DOUBLE TAKES appear to be simple pictures of landscapes, construction sites, root systems, or stones. All images in the exhibition, however, have been heavily edited. Upon closer inspection, many photographs contain impossible repetitions and visual “glitches” that alter the reality they depict. Other supposedly straightforward images are composites of several pictures, thus representing non-existent landscapes and scenes.

The goal of DOUBLE TAKES is to create photographic equivalents of rhyming stanzas of poetry or verses of songs. Similar to how songs or poems rhyme, several pieces in the exhibition contain echoes of their own details, creating internal rhythms and patterns. Other images in the show are photographic recreations of paintings by artists such as Nicolas Poussin (1594–1665) and Paul Cézanne (1839-1906), generating echoes that resonate beyond the work and across art history.
Though the editing in the images is seamless, these familiar scenes may become deeply unfamiliar once viewers notice the repetitions and inconsistencies. DOUBLE TAKES thus transforms monotonous things such as trees, stones, and construction materials into events in the midst of a lively process of becoming. Ultimately, this exhibition exploits photography’s artifice and revels in the medium’s thrilling capacity to trick or create fictional narratives.



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	<item>
		<title>Intangible Materials</title>
				
		<link>https://dougdumais.com/Intangible-Materials</link>

		<pubDate>Sun, 13 Mar 2022 21:01:29 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

		<guid isPermaLink="true">https://dougdumais.com/Intangible-Materials</guid>

		<description>


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&#60;img width="1002" height="1500" width_o="1002" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2aa8dd7ce81dcfccbd3f2cf94ec736697180eb9affa10054fb57fbbf568a63de/Intangible-Materials-18.jpg" data-mid="149193968" border="0"  src="https://freight.cargo.site/w/1000/i/2aa8dd7ce81dcfccbd3f2cf94ec736697180eb9affa10054fb57fbbf568a63de/Intangible-Materials-18.jpg" /&#62;



Intangible Materials
Duo Exhibition

Doug Dumais &#124; Simon Petepiece

July 21 - September 16, 2022City Hall Art Gallery 
Ottawa, ON

Exhibition Booklet featuring an essay by Cindy Hill available here.

This exhibition employs construction materials to make the cultural underpinnings of architectural space legible. Dumais’ photographs of construction sites, and Petepiece’s paintings on materials such as drywall and debris netting, are interventions into these overlooked scenes and objects. Their work affords viewers the time and space to contemplate the network of relations that entangle architectural spaces and their users.



</description>
		
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	<item>
		<title>Riverworks</title>
				
		<link>https://dougdumais.com/Riverworks</link>

		<pubDate>Sun, 13 Mar 2022 20:40:07 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

		<guid isPermaLink="true">https://dougdumais.com/Riverworks</guid>

		<description>

&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ba7013f5b35129ea4dfe04ccfde01d9b7f140212932487ccad156c46bd452f72/02_DougDumais.jpg" data-mid="139085925" border="0" alt="Installation view. Works by Alexis Bulman, Doug Dumais, and Kirstie McCallum." data-caption="Installation view. Works by Alexis Bulman, Doug Dumais, and Kirstie McCallum." src="https://freight.cargo.site/w/1000/i/ba7013f5b35129ea4dfe04ccfde01d9b7f140212932487ccad156c46bd452f72/02_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1352" width_o="2000" height_o="1352" data-src="https://freight.cargo.site/t/original/i/f508cfaffa4bf55c00686f8c72206c0acaa67b85662bb9eea0002eff21c30356/03_DougDumais.jpg" data-mid="139085926" border="0" alt="Installation view. Works by Kirstie McCallum (foreground) and Alexis Bulman." data-caption="Installation view. Works by Kirstie McCallum (foreground) and Alexis Bulman." src="https://freight.cargo.site/w/1000/i/f508cfaffa4bf55c00686f8c72206c0acaa67b85662bb9eea0002eff21c30356/03_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e5935ba1b627cf3c9cbcff84d6e1b9c7e95760521c021b2c69e9f1ce68678a26/01_DougDumais.jpg" data-mid="139085924" border="0" alt="Installation view. Works by Doug Dumais (left) and Kirstie McCallum (centre)." data-caption="Installation view. Works by Doug Dumais (left) and Kirstie McCallum (centre)." src="https://freight.cargo.site/w/1000/i/e5935ba1b627cf3c9cbcff84d6e1b9c7e95760521c021b2c69e9f1ce68678a26/01_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c0f2f1e0562e3e7bfdaad7a74ccc50c73acbbb64a0ebc8d1b58a4488ee0cb25c/06_DougDumais.jpg" data-mid="139085927" border="0" alt="Installation View. Works by Doug Dumais (left) and Kirstie McCallum." data-caption="Installation View. Works by Doug Dumais (left) and Kirstie McCallum." src="https://freight.cargo.site/w/1000/i/c0f2f1e0562e3e7bfdaad7a74ccc50c73acbbb64a0ebc8d1b58a4488ee0cb25c/06_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6e302f2d2ba842f2ca7f48b028205ea28247616c248dc66fbf2dfda38e195dc5/07_DougDumais.jpg" data-mid="139085928" border="0" alt="Doug Dumais. SOMETHING WORTH BOTH RETURNING FOR AND LEAVING BEHIND. 2022. Soft pastel, charcoal, graphite, enamel paint, and inkjet prints on gypsum drywall panel. 8 x 4 feet." data-caption="Doug Dumais. SOMETHING WORTH BOTH RETURNING FOR AND LEAVING BEHIND. 2022. Soft pastel, charcoal, graphite, enamel paint, and inkjet prints on gypsum drywall panel. 8 x 4 feet." src="https://freight.cargo.site/w/1000/i/6e302f2d2ba842f2ca7f48b028205ea28247616c248dc66fbf2dfda38e195dc5/07_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1448" width_o="2000" height_o="1448" data-src="https://freight.cargo.site/t/original/i/902a73b3e4beb90118ae6734c048fb8e6b3e66cc9772bfb25aa7ea7b0214bf1f/09_DougDumais.jpg" data-mid="139085929" border="0" alt="Installation view. Works by Kirstie McCallum (left) and Doug Dumais (right)." data-caption="Installation view. Works by Kirstie McCallum (left) and Doug Dumais (right)." src="https://freight.cargo.site/w/1000/i/902a73b3e4beb90118ae6734c048fb8e6b3e66cc9772bfb25aa7ea7b0214bf1f/09_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fc1bc39653ddf9723d18dfad21e1f8edc08937a0f587dc459d8f7469ec60f571/10_DougDumais.jpg" data-mid="139085930" border="0" alt="Installation view. Works by Kirstie McCallum (centre) and Doug Dumais (left and right)." data-caption="Installation view. Works by Kirstie McCallum (centre) and Doug Dumais (left and right)." src="https://freight.cargo.site/w/1000/i/fc1bc39653ddf9723d18dfad21e1f8edc08937a0f587dc459d8f7469ec60f571/10_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/814b8df616ce31d1da12e398975cd8cb392e44df38a5041ee6757a822bbc174f/11_DougDumais.jpg" data-mid="139085931" border="0" alt="Installation view. Works by Kirstie McCallum (left) and Doug Dumais." data-caption="Installation view. Works by Kirstie McCallum (left) and Doug Dumais." src="https://freight.cargo.site/w/1000/i/814b8df616ce31d1da12e398975cd8cb392e44df38a5041ee6757a822bbc174f/11_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/596e54bdd67310b2e926f49d391c48b05497d35748648f77bb1886d733c539f0/12_DougDumais.jpg" data-mid="139085932" border="0" alt="Doug Dumais. Charybdis. 2021. Inkjet print on archival matte photo paper. 23 x 28.8 inches." data-caption="Doug Dumais. Charybdis. 2021. Inkjet print on archival matte photo paper. 23 x 28.8 inches." src="https://freight.cargo.site/w/1000/i/596e54bdd67310b2e926f49d391c48b05497d35748648f77bb1886d733c539f0/12_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/632cd6995e0b5e3cb1868e900ee1a0a28eed024461a59d317abd13cee250569d/13_DougDumais.jpg" data-mid="139085933" border="0" alt="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." data-caption="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." src="https://freight.cargo.site/w/1000/i/632cd6995e0b5e3cb1868e900ee1a0a28eed024461a59d317abd13cee250569d/13_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1614" width_o="2000" height_o="1614" data-src="https://freight.cargo.site/t/original/i/cbadda2808b4a39f706667eb10cf5fd6086cffc52bd7fb70ecc8491831ba5bfd/14_DougDumais.jpg" data-mid="139085934" border="0" alt="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." data-caption="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." src="https://freight.cargo.site/w/1000/i/cbadda2808b4a39f706667eb10cf5fd6086cffc52bd7fb70ecc8491831ba5bfd/14_DougDumais.jpg" /&#62;
&#60;img width="1024" height="819" width_o="1024" height_o="819" data-src="https://freight.cargo.site/t/original/i/18b31c1f33097ac21b85c959a425cf2a937dd6c816956713273a9f6012f0f47d/IMG_1028-Enhanced.jpg" data-mid="136188451" border="0" alt="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." data-caption="Doug Dumais. Scylla. 2021. Inkjet print on archival matte photo paper. 28.8 x 23 inches." src="https://freight.cargo.site/w/1000/i/18b31c1f33097ac21b85c959a425cf2a937dd6c816956713273a9f6012f0f47d/IMG_1028-Enhanced.jpg" /&#62;
&#60;img width="2000" height="1317" width_o="2000" height_o="1317" data-src="https://freight.cargo.site/t/original/i/80a6b48f937fbc9d2781abd0649b221d60781225d463172f62678a8084c2d107/16_DougDumais.jpg" data-mid="139085935" border="0" alt="Doug Dumais. Fizmer, Scape, and Each-uisge. 2021. Inkjet prints and soft pastel on matte photo paper. 13.3 x 11.7 inches each." data-caption="Doug Dumais. Fizmer, Scape, and Each-uisge. 2021. Inkjet prints and soft pastel on matte photo paper. 13.3 x 11.7 inches each." src="https://freight.cargo.site/w/1000/i/80a6b48f937fbc9d2781abd0649b221d60781225d463172f62678a8084c2d107/16_DougDumais.jpg" /&#62;
&#60;img width="2000" height="1566" width_o="2000" height_o="1566" data-src="https://freight.cargo.site/t/original/i/5b0fcb15efba2b2875d589ec4395eb1702caf22637753477009fafefbc7c0103/Three-Small-Works-1.jpg" data-mid="139085937" border="0" alt="Doug Dumais. Fizmer. 2021. Inkjet print on matte photo paper. 13.3 x 11.7 inches." data-caption="Doug Dumais. Fizmer. 2021. Inkjet print on matte photo paper. 13.3 x 11.7 inches." src="https://freight.cargo.site/w/1000/i/5b0fcb15efba2b2875d589ec4395eb1702caf22637753477009fafefbc7c0103/Three-Small-Works-1.jpg" /&#62;
&#60;img width="2000" height="1566" width_o="2000" height_o="1566" data-src="https://freight.cargo.site/t/original/i/29a10674b34f4c3e30b11e896bbdc2a570f3ffe3138c31296769977ae6cf3859/Three-Small-Works.jpg" data-mid="139085938" border="0" alt="Doug Dumais. Scape. 2021. Matte photo paper. 13.3 x 11.7 inches." data-caption="Doug Dumais. Scape. 2021. Matte photo paper. 13.3 x 11.7 inches." src="https://freight.cargo.site/w/1000/i/29a10674b34f4c3e30b11e896bbdc2a570f3ffe3138c31296769977ae6cf3859/Three-Small-Works.jpg" /&#62;
&#60;img width="2000" height="1566" width_o="2000" height_o="1566" data-src="https://freight.cargo.site/t/original/i/c264f67826221945c9edc84b5ee05ea7e48334bab992fae8fdeb767028526cdd/Three-Small-Works3.jpg" data-mid="139085939" border="0" alt="Doug Dumais. Each-uisge. 2021. Inkjet print and soft pastel on matte photo paper. 13.3 x 11.7 inches." data-caption="Doug Dumais. Each-uisge. 2021. Inkjet print and soft pastel on matte photo paper. 13.3 x 11.7 inches." src="https://freight.cargo.site/w/1000/i/c264f67826221945c9edc84b5ee05ea7e48334bab992fae8fdeb767028526cdd/Three-Small-Works3.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fb365daee18c54317ddc9e2a445ad502692ebddbbcfb5daf6a8f094f4e07f17f/17_DougDumais.jpg" data-mid="139085936" border="0" alt="Installation view. Works by Doug Dumais (left) and Alexis Bulman (right)." data-caption="Installation view. Works by Doug Dumais (left) and Alexis Bulman (right)." src="https://freight.cargo.site/w/1000/i/fb365daee18c54317ddc9e2a445ad502692ebddbbcfb5daf6a8f094f4e07f17f/17_DougDumais.jpg" /&#62;

RiverworksGroup Exhibition
Alexis Bulman &#124; Doug Dumais &#124; Kirstie McCallum
March 31 - April 4, 2022
Beaconsfield Carriage HouseCharlottetown, PEIUsing art as a form of citizen science, the three artists who were selected to participate in the&#38;nbsp;Riverworks public art program expand on the themes of adapting with, listening to, and observing waterways within the larger context of the climate crisis. 
Each of the works within Riverworks pose questions about change and time, asking us: what does it mean to consider human experience as a fleeting part of larger planetary cycles? The artworks offer perspectives for ways of living that embrace and attend to changes along our rivers, coastlines, and communities.
For more details, click&#38;nbsp;this link.

Riverworks was made possible by the River Clyde Pageant and Creative PEI. The Living Shorelines initiative was led by the PEI Watershed Alliance, the City of Charlottetown, and the Town of Stratford, with funding from the federal government’s Climate Action Fund. Special thanks to the ClimateSense Program at UPEI.

</description>
		
	</item>
		
		
	<item>
		<title>Traces &#38; Traverses</title>
				
		<link>https://dougdumais.com/Traces-Traverses</link>

		<pubDate>Sun, 14 Nov 2021 20:40:02 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

		<guid isPermaLink="true">https://dougdumais.com/Traces-Traverses</guid>

		<description>
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Traces &#38;amp; TraversesSolo show with this town is smallReceiver Coffee, Vic RowCharlottetown, PESeptember 1 - October 10, 2021

Each image in Traces and Traverses employs recognizable forms of communication that can be read: such as handwriting or side-by-side images that resemble the pages of an open book. The handwriting, however, is illegible, and the books feature photographs rather than words. As such, these suggestive images broach intangible concepts that lie immediately beyond the horizons of language. Through juxtaposition, digital manipulation, or lyrical handwriting, photographs of common objects — including construction materials, wrecked cars, or stones —act as thresholds to abstract ideas such as the movement of the celestial spheres or the passage of time. 

Traces left open for interpretation, exits along a highway of meandering thought, or vistas out onto the terrain of the ineffable: the images in Traces and Traverses are the result of an open-ended process of research into the potential for words and images to broach ideas, sentiments, or experiences that defy articulation.

Documentation: Lisa Theriault</description>
		
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	<item>
		<title>Shoreline Palimpsest</title>
				
		<link>https://dougdumais.com/Shoreline-Palimpsest</link>

		<pubDate>Wed, 25 Aug 2021 01:27:45 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

		<guid isPermaLink="true">https://dougdumais.com/Shoreline-Palimpsest</guid>

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Shoreline PalimpsestJuly 16, 17, 18 + September 18, 19, 2021
Charlottetown, Prince Edward Island&#38;nbsp;

For three consecutive days in July 2021, and two consecutive days in September 2021, I spent all day, from 8 a.m. to 8 p.m., working in an outdoor artist studio along the shoreline near the Queen Elizabeth Hospital in Charlottetown. Spending half a tidal cycle on the shore, I documented the daily, hourly, and even minute-by-minute changes along one small section of the PEI coastline through photographs and poetry.
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Photo: Stewart MacLean

While on the shore, I worked in a makeshift artist studio, which consisted of a 6x6x6-feet PVC cube frame. This space contained the essentials of a photographer’s studio: a camera, tripod, laptop, printer, and notebook. The studio cube was meant to serve as a frame for the performance and referenced the small PVC squares used by scientists for shoreline monitoring. I edited and printed images on site in the studio, and wrote poems directly on the prints, which I handed out for free to visitors to the installation.

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Photo: Stewart MacLean

The result of this temporary intervention in the social landscape of the shore is a reflective narrative of five days in the life of the coast. This micro-scale coastal inventory is meant to evoke the vast, macro-scale erosion and changes on shorelines over centuries or millennia: time frames that are incomprehensible on a human scale but are essential to consider in personal and political decisions.

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/e6886fe8a0366d7a1797ece3336bbb786ebc42f703e67f1160230fe60f30bd1e/_DSC2161.jpg" data-mid="117426427" border="0"  src="https://freight.cargo.site/w/1000/i/e6886fe8a0366d7a1797ece3336bbb786ebc42f703e67f1160230fe60f30bd1e/_DSC2161.jpg" /&#62;
Photo: Stewart MacLeanBetween both iterations of Shoreline Palimpsest, the site of the performance was transformed from the site of a Gabion rock wall into a living shoreline. Living shorelines are a nature-based solution to coastline protection. Mimicking natural processes, living shorelines slow erosion and are made with natural, biodegradable materials, planted native species of trees, shrubs and grasses, all of which stabilize the shoreline to prevent erosion.

This project was made possible thanks to the generous support of&#38;nbsp;The River Clyde Pageant and Creative PEI.



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Images produced during Shoreline Palimpsest

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		<title>A Landscape for Construction</title>
				
		<link>https://dougdumais.com/A-Landscape-for-Construction</link>

		<pubDate>Fri, 26 Jun 2020 19:21:52 +0000</pubDate>

		<dc:creator>Doug Dumais</dc:creator>

		<guid isPermaLink="true">https://dougdumais.com/A-Landscape-for-Construction</guid>

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&#60;img width="2450" height="1819" width_o="2450" height_o="1819" data-src="https://freight.cargo.site/t/original/i/1a41cc88dc45d225b993f072805146fa5b5b1479749dc0030183b90d9af32ed0/Doug-Dumais-Landscape-With-Saint-John-On-Patmos.jpg" data-mid="81730555" border="0" alt="A Landscape for Construction (Patmos), 2020  Background Image: Nicolas Poussin (French 1594-1665), Landscape with Saint John on Patmos, 1640." data-caption="A Landscape for Construction (Patmos), 2020  Background Image: Nicolas Poussin (French 1594-1665), Landscape with Saint John on Patmos, 1640." src="https://freight.cargo.site/w/1000/i/1a41cc88dc45d225b993f072805146fa5b5b1479749dc0030183b90d9af32ed0/Doug-Dumais-Landscape-With-Saint-John-On-Patmos.jpg" /&#62;
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A Landscape for Construction 
2020-2022

In the early 16th century, many artists sought to raise the profile of landscape painting to the status of history painting by including scenes from the Bible or dramatic moments from the lives of Saints. These events, often delegated to the lower third of large paintings, included vignettes of daily life — labourers working in the fields or merchants travelling along the roads. At the root of this inclusion is an idealization and romanticization of labour, as well as an erasure of the temporal chasm separating the 16th century and antiquity. Aware that I too am participating in the idealization of the labour of construction workers, this series aims to draw attention to these environments that are often overlooked.

 Construction sites are also a tangible connection to the immaterial notion of time. The exterior of a building might remain relatively unchanged for centuries. Then, for a period of a few months or years, it is subject to sudden expansion, restoration, demolition, or transformation. Following this brief flurry of activity, a building will once more enter into a period of relative stability for many decades.  In this case, I subject the supposedly timeless landscapes of the Renaissance and Neoclassical periods to a state of impermanence and change.

Construction sites thus provide a moment of instability, within which the future of an urban space can be questioned and contested. Produced in a period of the city’s history that is marred by gentrification, increasingly unaffordable housing, and the displacement of racialized communities in favour of condo villages where whiteness can be safely performed, this series speaks to the necessity of questioning the notion of permanence and tradition.




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