Paradise

Keillor’s meticulously rendered, formally composed paintings on paper are thought provoking, as we question our usage of nature for recreational experiences. At the same time they are wonderfully playful and tongue in cheek.

“The history of commercial outdoor recreation in North America can be traced to colonial notions of land as something that can be bought and sold. In the mid-nineteenth century, industrialization swept across the continent and threatened widespread settler agrarian ideals that placed moral value on physical labor and self-sufficiency. These ideals were lamented by a growing upper and middle class who clung to romantic notions of simple living, while benefiting from the conveniences of the city. Temporary immersion in nature was the answer to experiencing the best of both worlds and thus began a distinctly systematized settler Canadian approach to marketing the wilderness experience. Ironically, the contemporary outdoor enthusiast has come to expect a full range of services and infrastructure to support their desire to engage with the outdoors while maintaining the comforts of home.

As a lifelong city dweller, I understand all too well the lure of wild space. The respite from the rigors of daily life, the meditative power of working with one’s hands to fulfill the needs we normally take for granted, and the sense of camaraderie fostered around the light of a blazing fire. Yet present day interactions with the land are complex, conflicting and confusing. Through quiet humour that borders on the absurd, my works invite viewers to reflect on the ways in which outdoor experiences bring a sense of joy, and the contradictory frameworks that pave the way for this enjoyment.”

— Jazz Keillor