Artwork Collection

The Climate of Untruth

The Climate of Untruth series was commenced in late February this year, and is my response to the fear of the Covid-19 pandemic, and our increasingly skeptical relationship with social media, politics and power.

Climate

divider
Drone
Drone

Painting

Drone

This image is based in part on a newspaper photo of queuing crowds being sprayed with disinfectant.

Hall of Mirrors
Hall of Mirrors

Painting

Hall of Mirrors

This is a preliminary for the larger scale version Hall of Mirrors. It is based on a screen grab from television coverage of Mark Zuckerberg's interrogation by US Congress regarding Facebook's role in the Cambridge Analytica scandal and its direct... More

Horror
Horror

Painting

Horror

This image based on a screen grab from the horror film Train to Buhan, which documented the attempted escape via train from a zombie pandemic. This film was referenced heavily on social media at the beginning of the pandemic.

Look Back
Look Back

Painting

Look Back

Look Back gives the viewer agency in a surveillance context, a risky proposition without knowing who is on the other side the camera.

Mask
Mask

Painting

Mask

This is image was based on a newspaper photo at the outset of the pandemic, while it was breaking overseas, before it had reached North America.

Night Vision
Night Vision

Other

Night Vision

This image is based on a screen grab from a night time surveillance video.

Cameramen
Cameramen

Painting

Cameramen

This interpretive image is based on a North Korean propaganda video.

Cameramen 2
Cameramen 2

Other

Cameramen 2

This large image is based on a North Korean propaganda video.

Hall of Mirrors
Hall of Mirrors

Painting

Hall of Mirrors

This large scale piece is based on a screen grab from television coverage of Mark Zuckerberg's interrogation by US Congress regarding Facebook's role in the Cambridge Analytica scandal and its direct impact on the election of Donald Trump. It is... More

Work by

Jim Russell

Drawing and Painting

“My work channels the photographic authority, nostalgia and the graphic power of black and white images in order to ask critical questions about media, relationships, power and Canadian identity. I...” [More]