Hello and welcome to my page, I am a Visual Artist
Connor MacKinnon is a sculpture artist from London, ON. He currently lives and works in Victoria, BC where he is completing his Masters of Fine Art at the University of Victoria. MacKinnon received his Bachelors of Fine Art from the Nova Scotia College of Art and Design and an Advanced Diploma in Fine Arts from Fanshawe College. His current SSHRC-funded research explores the physical and conceptual reconstruction of fragmented histories and historical objects through a perspective that is grounded in imagination, potential, and questioning. Making use of generative and parametric algorithms, these explorations have recently led to an online special project through In-ruins Residency based out of Italy linking archeology and contemporary art and continued during the Duplex art residency in Lisbon, Portugal. MacKinnon has exhibited his work across Canada with his most recent solo exhibition, What If (2019) at the TAP Centre for Creativity in London, ON as part of an emerging artist residency. His upcoming exhibition A Fragmented History: Port Moody will be opening on May 12th at the Port Moody Arts Centre with the support of the Kwi Am Choi Exhibition Scholarship. Alongside, his artistic practice, MacKinnon is an arts educator and cultural worker with experience in art installation, curation, and archiving.
Contact Details
MacKinnon, Connor
https://www.connormackinnon.com/
Victoria, British Columbia, Canada
Samples of my work
Artist Statement
My artistic practice is one of examinations based in creation. With the aim of producing observations as tangible things, my work explores the physical and conceptual reconstruction of fragmented histories and historical objects through the use of generative algorithmic 3D modeling and the speculative lens of historical fiction. Through the creation of object-based sculptures, my goal is to construct a conceptual framework that is grounded in imagination, potential, and questioning. My current, questioning is focused on the role of truth and authenticity as it applies to historical reconstructions as an act of both legitimizing and fictionalizing containing both factual elements and invented narratives. Paired with this conceptual exploration, my work makes use of and is informed by the use of computer-aided design, 3D modeling, and digital fabrication. Playing a role in both research and production, the act of digitization, working within a digital environment, and the translation back into a physical state, allow for a dedicated and meticulous analysis and knowing of an object. My use of generative 3D algorithms is tied to the ability to create variability and multiplicity within a defined system. While much of my artwork is driven conceptually and is processed digitally, balance and personal satisfaction are maintained through a making practice which strives to create a sense of harmony between intellectual gratification, experimentation, aesthetic pleasure, and craftsmanship.