For all his 27 years, the Toronto-based, internationally celebrated artist Alex McLeod promotes a style that suggests both old world and new. He pairs tailor-fitted velvet overcoats, light-catching broaches, and chest-bearing silk dress shirts with large sepia-tinted glasses, and tucks his long hair behind his ears to reveal an easy smile. He speaks in an attractive Scarborough-inflected “post-party” drawl that conflates itself like text talk, and scrawls Twitter and Facebook with sartorial histrionics, like “CAN SUM 1 RECOMMEND AN APPP TO SEE WHAT I WUD LOOK LIKE WITH DRAKE HAIR?”
It should come as no surprise then that McLeod’s work is uniquely branded, too. His prints lend image to diorama-like scenes and patterned, otherworldly refuse crafted from digital rendering technology. The figurative landscapes at once promote benevolence (crystalline globes and light-reflecting bauble buildings and candy skies) but can carry subtle notes of a more portentous nature, too, as if his fantasies are underwritten by Kafkaesque industry and fugue. McLeod has made these possible realities immersive, too, installing interactive digital realities (and sometimes Karaoke) in solo exhibitions and international art fairs. But lately the artist has been signaling a new direction, and his latest show, titled “Légendes oubliées,” which opens in Montreal’s Galerie Trois Points this week, presents a new slate of work and a slightly altered course.
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