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Artist BioDawn Knight is an interdisciplinary artist and art educator. She was raised in the back of a family restaurant in a tiny town in rural Manitoba. Her fascination with place, comfort, the dynamics of social interaction and connection, intimacy, and gender roles developed as she spent hours every day observing the restaurant’s patrons.
Over the last 20 years she has developed work in a variety of media, including poetry and spoken word performances, video, photography, drawing, painting, printmaking, textiles, costuming, hand-made books and zines, and found object sculpture. Although she identifies as a multidisciplinary artist, her passion lies in conceptual art, performance and installation works. |
Filled with pathos, self-reflection and humor, Knight's work has explored a variety of themes around the human body and social experience: family and genetics, deformity and disease, romance, sexuality and reproduction, intimacy and connection, beauty and femininity, shame, physical and spiritual safety/sanctuary, the chasm between expectations and reality, and the informal social governance of gender.
She seeks inspiration in her own awkward journey and personal experiences, and catharsis in creating work that is both autobiographical and accessible. Her goal is to continue to investigate the ways that individual and collective expectations, assumptions, and biases play in constructing complex interactions between intimates and strangers, and ultimately lead us to redefine ourselves.
Dawn Knight currently lives and works in Winnipeg, Manitoba (One Great City!), with her overweight cat Fidel Catstro, and her anxious dog Stella Maris.
She seeks inspiration in her own awkward journey and personal experiences, and catharsis in creating work that is both autobiographical and accessible. Her goal is to continue to investigate the ways that individual and collective expectations, assumptions, and biases play in constructing complex interactions between intimates and strangers, and ultimately lead us to redefine ourselves.
Dawn Knight currently lives and works in Winnipeg, Manitoba (One Great City!), with her overweight cat Fidel Catstro, and her anxious dog Stella Maris.
In addition to my visual art, I also have fun making costumes, books and custom pet bowls.
Check them out, too!
Current Visual Art Practice:
In the last two years, my practice has been an investigation into how my own identity has been shaped by both missed and lived experiences, and the ways that internal desires and external influences have shaped my self-concept.
Thematically, my interest areas have been:
Thematically, my interest areas have been:
- biological science; specifically, family and genetics and the magic (healing/automation) and horror (deformity/disease) of the human body; its role as as vessel and façade
- romance, sexuality and reproduction, intimacy and connection, beauty and femininity, shame
- the dynamics of social interaction, gender performance and gender role-play, and the informal social governance of gender
- the ways that individual and collective expectations, assumptions, and biases play in constructing complex interactions between intimates and strangers
- the ways in which personal worth and self-concept are continually negotiated and shaped through verbal and non-verbal discourse
- sanctuary and the ways we find it; ; how we seek spiritual and emotional sanctuary in relationships (with strangers, domestic animals, etc.), living spaces (or other physical spaces), what we ‘need’ to survive, connections/disconnections with nature, etc.
- technology and the de-humanization of communication; anonymity, the use of avatars and the role that digital relationships play in developing our sense of closeness (or disconnect)
Opening November 3rd, 2017: EXTENSIONS
@ Mentoring Artists for Women's Art
Dawn Knight
Heterosexual Cultures, 2017 Plywood, petri dishes, laser prints, adhesive Dimensions variable |
Artist Statement:
In 1515, Albrecht Dürer created a woodcut of a rhinoceros. Although he had never actually seen one himself - and his rendering was wildly inaccurate – it was widely regarded as a true representation of the creature, and shaped public perceptions for more than two centuries. My grandmother read over 400 Harlequin Romance novels in the last 30 years of her life. Represented on these book covers are rituals of romantic attraction, desire, and courtship - particularly, acts of physical connection. These scenes are mesmerizing - part sensational performance and part meticulous didactic, reproducing and propagating notions of possession, control, and uncontrollable lust. I study these images with a pseudo-scientific curiosity. In this piece, I document a taxonomy of heterosexual expressions, gazes, and interactions. I detail an imagined beast. |
THE WORK: I am using my late grandmother's extensive collection of Harlequin romance novels as inspiration for de/constructed assemblages. I am grouping and organizing hundreds of Harlequin images into categories based on the with the ways that the couples' bodies inter/act and counter/act. Almost all of these images are based on photographs of strangers who have been 'posed' by a photographer, as reference for his/her paintings. What makes these images so appealing? Are they truthful? Idealistic? Harmful? Is this what romance looks like?
Work in Progress...
The Space Between (Working Title)
I often wonder about the development of human attraction, especially the connection between emotional and physical intimacy and the transformation (or evolution?) caused by the initiation of physical interaction in a relationship. In this work, I am exploring the moment when a friendship becomes more than a friendship; the way that deep understanding and familiarity between two people becomes energy-filled, and through a symbolic act of corporeal connection, evolves a relationship from platonic to romantic.
These moments are often represented in movies and storybooks as extreme close-ups of almost-touching lips – the moments are dramatically and passionately represented, drawn out, and relished by viewers, who engage in vicarious sensual experiences through fictional couples’ romantic connections.
I often wonder about the development of human attraction, especially the connection between emotional and physical intimacy and the transformation (or evolution?) caused by the initiation of physical interaction in a relationship. In this work, I am exploring the moment when a friendship becomes more than a friendship; the way that deep understanding and familiarity between two people becomes energy-filled, and through a symbolic act of corporeal connection, evolves a relationship from platonic to romantic.
These moments are often represented in movies and storybooks as extreme close-ups of almost-touching lips – the moments are dramatically and passionately represented, drawn out, and relished by viewers, who engage in vicarious sensual experiences through fictional couples’ romantic connections.
How much of attraction is pheromonal? How much is psychosocial?
How much of our attraction to another person is subliminal or chemistry-based and how much is overt (based on common interests, preference for certain physical traits, etc.)?
How ‘in control’ are we of these attractions?
How much does shared experience, context, or story, inform our attractions?
Can we ‘convince ourselves’ into attraction, or is it inherently scientifically entrenched?
What draws us nearer to someone?
How much of our attraction to another person is subliminal or chemistry-based and how much is overt (based on common interests, preference for certain physical traits, etc.)?
How ‘in control’ are we of these attractions?
How much does shared experience, context, or story, inform our attractions?
Can we ‘convince ourselves’ into attraction, or is it inherently scientifically entrenched?
What draws us nearer to someone?
Samples of Past Work:
127 / 323 (Biological Clock Prototype), 2016
Styrofoam, plywood, steel, socks, acrylic paint, adhesive, monofilament
102" X 48"
My current art practice addresses how our identities are shaped through both lived and missed experiences. In this piece I am considering the ways that internal desires and external influences shape self-concept. By focusing on the dereliction of my own body (and somewhat unfortunate relationship circumstances), I am exploring the influential and transformative nature of shame on my own notion of femininity.
Throughout their lives, women go through about 450 ovulations - each a potential opportunity to become pregnant. This sculpture chronicles the passing of biological time. It represents the 323 potential "lost" opportunities I have had to become a mother - the ovulations I have had from my first menstruation until the specific date of public display in the gallery space (November 4th, 2016) - and suspended above those missed chances are the 127 ovulations I have remaining until menopause begins.
The installation is, structurally, a hanging hourglass; my 'biological clock'. Within the clinical, pristine white frame hangs a collection of children's socks - reminiscent of both a tornado and a merry-go-round; a cheerful, carnivalesque collection of bright colours which appear to be frozen, stuck motionless in a funnel-shaped vortex. This piece embodies my missed maternal experience: the relentless and breakneck passing of time, my deep seated feelings of loss, regret, and helplessness, and the irresolution - and inevitably changing perception - of my role as a woman.
Styrofoam, plywood, steel, socks, acrylic paint, adhesive, monofilament
102" X 48"
My current art practice addresses how our identities are shaped through both lived and missed experiences. In this piece I am considering the ways that internal desires and external influences shape self-concept. By focusing on the dereliction of my own body (and somewhat unfortunate relationship circumstances), I am exploring the influential and transformative nature of shame on my own notion of femininity.
Throughout their lives, women go through about 450 ovulations - each a potential opportunity to become pregnant. This sculpture chronicles the passing of biological time. It represents the 323 potential "lost" opportunities I have had to become a mother - the ovulations I have had from my first menstruation until the specific date of public display in the gallery space (November 4th, 2016) - and suspended above those missed chances are the 127 ovulations I have remaining until menopause begins.
The installation is, structurally, a hanging hourglass; my 'biological clock'. Within the clinical, pristine white frame hangs a collection of children's socks - reminiscent of both a tornado and a merry-go-round; a cheerful, carnivalesque collection of bright colours which appear to be frozen, stuck motionless in a funnel-shaped vortex. This piece embodies my missed maternal experience: the relentless and breakneck passing of time, my deep seated feelings of loss, regret, and helplessness, and the irresolution - and inevitably changing perception - of my role as a woman.
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How to Care for Chairman Meow and Fidel Catstro
in the Case of My Untimely and Gruesome Death, 2012 Watercolour and ink on paper 11" X 17" This comic, a visual instruction manual for the executor of my will, was created especially for the Writing on the Wall show at Flatlanders Gallery. |
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Stephen's Hands, 2011
from the Parts Series Graphite on paper 8" X 10" In a series of small drawings, I explored in detail the most memorable physical characteristics of various close friends and family members. |
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Leslie's Eye, 2011
from the Parts Series Graphite on paper 4" X 5" |
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Babies with Rabies: Conception, 2009
Babies with Rabies: Fresh Outta the Womb (The Rap Album), 2009
Babies with Rabies: Cut the Cord, 2009
Babies with Rabies: Incubator (The Singles), 2009
Four full-length audio recordings on compact disc
My friend Reggie Roch and I decided to become a singing duo called Babies with Rabies. We recorded 320 minutes of ourselves singing cover tunes, and produced four full length albums. We held intimate 'concerts' at local karaoke venues, where we performed songs from our albums. We made band buttons and created laminated Babies with Rabies backstage passes on lanyards, and brought them with us to these gigs, in case anyone in the audience wanted autographs after our shows.
Babies with Rabies: Fresh Outta the Womb (The Rap Album), 2009
Babies with Rabies: Cut the Cord, 2009
Babies with Rabies: Incubator (The Singles), 2009
Four full-length audio recordings on compact disc
My friend Reggie Roch and I decided to become a singing duo called Babies with Rabies. We recorded 320 minutes of ourselves singing cover tunes, and produced four full length albums. We held intimate 'concerts' at local karaoke venues, where we performed songs from our albums. We made band buttons and created laminated Babies with Rabies backstage passes on lanyards, and brought them with us to these gigs, in case anyone in the audience wanted autographs after our shows.
Installation view
Detail of wallpaper
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Dirty Laundry, 2007
Installation Harlequin book covers, paint, fabric, string, rag papers, clothespins, lint, mannequin Dimensions variable I have always found Harlequin Romance novels to be curious relics. The kitschy book covers, featuring men and woman in the throws of passion, represent the ultimate in sensationalized lust and desire. My grandmother, who had never presented herself as a sexual being, has read over 400 of these books. I used her collection of melodramatic, outlandish romance books as stimulation for my installation called "Dirty Laundry". It is a piece about lust, desire, and the conflict between a woman's dual roles as proper domestic matron and desirable sex object. For thirty days, everywhere I went, I carried cards cut from rag paper in my pockets. Every time I had a lusty daydream or 'impure' thought, I wrote it down in detail on one of the cards. I put each card, with a load of my dirty laundry, in the washing machine and through the dryer. I collected the lint from the dryer lint trap, and sewed myself a matronly nightdress, using the collection of 'tainted' dryer lint as stuffing in the large flowers which embellish the dress. I created a space to house the dress, by creating wallpaper which included a selection from the over 400 Harlequin covers, and hung my (laundered) dirty confessions on clotheslines overhead. This installation was featured at Cre8ery's After Hours show. |
Installation view
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Peepshow: How Lovely to Be a Woman, 2001
Performance / Installation Exercise bike, television, speakers, mirror, found photograph in frame, plastic plants, lipstick, candy, photographs, pantyliners Dimensions variable In this three-hour performance, I created a peepshow for the general public. I painted a small room pink, and used adhesive pantyliners to create a wallpaper pattern. I hung pink dollar-store frames on the walls (still featuring the stock photos of handsome men which came with the frames) and decorated the room with with a large mirror, pink doilies, flowerpots, and other found items. Rather than paying money to watch, viewers were asked to choose a piece of Valentine's candy from a dish in order to start the 'peepshow'. Peering through gauzy pink curtains, the audience could witness me riding an exercise bike in a pink dress and high heels, while watching an episode of the television sitcom Friends (where Chandler and Monica finally get married), on video. After each playing of the videocassette, I stopped to inspect myself in the mirror, smooth out my dress and reapply my lipstick. This performance was featured at the emergence show at 290 McDermot Ave (what is now Urban Shaman Gallery). |
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Untitled (Woman in Pink), 2000
from the Threshermen’s Wives Series C-Print 16” X 20” |
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Untitled (Woman Quilting), 2000
from the Threshermen’s Wives Series C-Print 16” X 20” |
Comfort, 2007
Acrylic on canvas
36” X 12”
This small series of patterned acrylic paintings was inspired by a visual investigation of breast and uterine cell structures, and research into our bodies' amazing ability to heal.
Acrylic on canvas
36” X 12”
This small series of patterned acrylic paintings was inspired by a visual investigation of breast and uterine cell structures, and research into our bodies' amazing ability to heal.
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Wading for Godot 3, 2006
Encaustic, collage and acrylic on canvas 6" X 8" This piece, a part of a mixed-media triptych, was inspired by the potential futility of cautious choice-making when salvation (deliverance?) is expected from an external entity (i.e. God). I was questioning my own evasion of self-introspection and responsibility-taking for my actions. |
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Young Me / Now Me, 2001
Digital collage 6” X 4” |
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Mama Lou and Charlie, 2000
Gelatin silver print 8" X 10" |
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Untitled (Elderly Couple Sharing Lunch), 2000
Gelatin silver print 8" X 10" |
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The Seven (Pride), 1999
Gelatin silver print 8" X 10" This photo was part of a series of artworks exploring our natural inclination to sin and how faithfulness to a religion might or might not affect our choices. The series included two public performances (The Seven (Gluttony) and Lo, What it is to Love) and a number of black and white photographic self-portraits. Thank you to King's Fellowship Church for hosting the site-specific performances. |
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Untitled (Claude Napping Again), 1999
Gelatin silver print 8" X 10" |
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Stella / May, 1998
C-Print 16" X 20" A portrait of an artist photographing artwork by her favorite artist. |
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Family at Wedding, 1997
Gelatin silver print 8" X 10" |
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Untitled (We're Off), 1997
Gelatin silver print 8" X 10" |
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Tightrope, 1997
Gelatin silver print 8" X 10" |
