I use computational systems to produce drawings and paintings that explore the aesthetics of computer code, systems of spatial representation, and my own propensity for finding meaning in chaos.

My recent work includes plotter drawings, generative stereoscopic animations, and experimental interactive livestreamed video feedback.

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.

Get in touch with me at grunskm@gmail.com if you want to drop by for a studio visit and talk creative coding, pen plotting, painting, stereoscopics, or anything else!

I've been working with the motif of 'random' dots since my BFA grad show in 2012 at NSCAD University. For me, the dots are stand-ins for subject matter while other formal and material aspects of the work become the focus. 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 foray into systems-based artwork.

Moving away from the LCD screen as its primary substrate, I'm interested in the many alternative material possibilities that plotting opens up for digitally generated art. Enabling more direct engagment with conventional art materials like paper and ink, plotting also allows for some truely novel approaches to drawing/printmaking that I've only just begun to explore. Through the manipulation of line, my plotter drawings approach topics like the generation of value, the depiction of perspectival space, and the simulation of human gesture. I build and program my plotters myself, giving me greater control over the specific relationships between my code and the finished drawings.

My teaching practice is centered around exploring the relationship between visual language and digital technologies, and exposing students to the language of computation through a fine art studio context. I've recently developed a series of courses for a variety of age ranges and backgrounds that aim to equip students with computational knowledge that they can take with them to their own artistic practices.