A Fine Line, 2021, Trapp Projects, Vancouver
Depth(10), 2021, 48x48in, acrylic on canvas.
Sole Contour, 2019, 20x20in, cast plaster, tissue paper, ink.
Finger, 2019, 60x60in, acrylic on shaped canvas, oak frame.
Ghost(I), 2016, 48x48in, cut 3/4in plywood, gallery paint.
Cloud, 2022, 8x11in, paper, ink.
First Place, 2019, 24x24in, acrylic on panel.
Uvula, 2019, 24x30in, acrylic on shaped canvas, oak frame.
Schooling Lines, 2021, website.
Notch, 2019, 9x10in, cast plaster, tissue paper, ink.
Coil, 2022, 11x12in, plotter drawing made with india ink.
Gulls, 2022, 11x12in, plotter drawing made with coloured ink.
Ghosts, Charles H Scott Gallery, 2016.
BFA Grad Show, 2012, NSCAD University, Halifax.
Reflections (I,II), 72x96in, acrylic on canvas.


In my work I am interested in the aesthetic potential of computational systems, both on the computer screen and in physical media. My interest in this stems from a curiosity around the digital technologies that have become so deeply embedded in our daily experience. Although my preoccupations as an artist are mainly material, I'm captivated by the immense potential that computation offer for visual exploration, particularly in systems of spatial representation such as perspective, 3D rendering, and stereoscopy.

Recently, my main focus has been the building and programming of computer controlled drawing machines, called pen plotters. Moving away from the LCD screen as the primary visual substrate of computation, I'm interested in the many alternative material possibilities that plotting opens for digitally generated art. I build and program my plotters myself, giving me greater ownership of the specific images I create.

Before engaging directly with digital computation, my work centered around an exploration of form that led me to use found images as compositions of large abstract paintings. I've been working with the motif of 'random' dots, originally taken from images of chewing gum stuck on sidewalks outside Halifax nightclubs, since my BFA grad show in 2012 at NSCAD University. For me, the dots are stand-ins for subject matter while the material aspects become the focus of the work. I've experimented with various ideas including colour, canvas structure, found composition, and most recently stereoscopy. Pre-dating my interest in computation, this body of work represents my earliest experiments with system-based artwork.

I am currently based out of Winnipeg, Manitoba, Canada, on Treaty One Territory where I teach drawing, painting and creative coding at the University of Manitoba, and maintain an independent artistic practice with support from the Canada Council for the Arts.I was previously based in Vancouver, BC, and am originally from Halifax, NS. Please contact me at grunskm@gmail.com if you would like more information about my work.