| Born in Winnipeg in 1967, Dawn moved to Toronto in 1986 where she became a graduate and scholar of the Ontario College of Art.
Dawn had her first solo exhibition in Toronto in 1993. The press coverage she received for this photographic installation included a live interview with CBC television, and led to a position as jr. art director for MAC cosmetics. Steering her career into the then new area of computer graphics, Dawn joined TOPIX/Mad Dog studio as director of broadcast animation. During these years Dawn partnered with award winning directors and animators to create leading edge broadcast design and animation for clients including Paramount Pictures, MTV and General Mills foods. Dawn moved to online media by joining Maclaren McCann Interactive as an art director creating web content for clients such as Nesquik and General Motors. Dawn remained at MMI until starting her business, 9 doors down in 2001.
During her prolific career Dawn’s signature designs and illustrations were highly sought after for their innovative and striking appeal. As an artist she continues to push boundaries, first by bringing an art background into computer graphics, and now with exploring the influence of computer graphics on the traditional medium of painting.
Currently Dawn continues to work on her painting series titled Filmscapes. She is very pleased to announce that her work has been selected for the December 2008 exhibition at the Salon de la Société Nationale des Beaux-Arts in the Carrousel du Louvre, Paris. The following is a commentary written by the artist describing her filmscape paintings.
“For many years I have liked the look of film stills, and my experience in animation has made me much more aware of how the single can represent the whole.
Conceptually the series has evolved, conveying more personal interpretations of the stills.There is a now a parallel between the still in its relation to the narrative of the film and my experiences. Memories and emotions are used to create themes within the series. The selected image is abstracted from a timeline, but when isolated and reconstructed it opens itself to more diverse interpretations. The juxtaposition of personal memories on cinematic imagery is a theme that I am continuing to develop.
Deconstructing the frame into top and bottom is one of the most interesting aspects of the work. While making the subject matter more dynamic, it also represents the passage of time and more literally the film frames frozen between one and the next.”
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