Contact / CV
Jp King is an artist, designer, publisher and writer living in Toronto. He runs Paper Pusher Printworks, a small Risograph publishing and printing operation. His work explores contemporary mythology, masculinity, garbage, and collective activity. His obsession with paper manifests itself in collage, installation, murals, and multiples. When the timing is right he plays the role of designer, editor, residency coordinator, and conversational facilitator.
Bachelor of Arts, Creative Writing, Print Media Minor (2009)
Solo & Two-Person
2011 – Free City Paper, Whippersnapper Artist-Run Center, Toronto (Solo), curated by Adrian Dilena
2011 – The Dirtiest Hands, Galerie Nota Bene, Montreal (Solo), curated by Amanda Durepos
2007 – No Paper Harmed, VAV Gallery, Montreal (w/ Kyla Chevrier)
2011 – Pin Ups – Mercer Union, Toronto, Curated by Michael Parke-Taylor
2011 – Group Collage Show – Monistiraki, Montreal, Curated by Billy Mavreas
2011 – Chromatic 2, SAT, Montreal, curated by Kristian Manchester & Ximena Becerra (catalog)
2011 – Amuse Bouche, Rouge 58, Brooklyn, NYC, curated by Nadja Nebas
2011 – Chromatic Catalog Launch, Yves Laroche Galerie, Montreal, curated by Pauline Loctin
2011 – No Sleep Til Brooklyn, Underworld, Montreal, curated by Alan Ganev
2011 – Works on Paper, Red Bird Gallery, Montreal, curated by Naomi Cook
2010 – Print 3D!, Minnesota Center for Book Arts, Minnesota, curated by Jeff Rathermel
2010 – The Box Project, ARPRIM, Montreal, curated by Chloe Beaulac (catalog)
2010 – Digital Miniprint Exhibition, Voix Visuelle, Ottawa, curated by Line Dezainde (catalog)
2010 – Lettres, Articule Artist-Run-Center, Montreal, curated by Anne Marie Proulx (catalog)
2010 – Altered Postcards, Gallery KG52, Stockholm, curated by Edvard Derkert
2010 – Reshelving Initiative, Eyelevel Gallery Artist-Run-Center, Halifax
2007 – Nuit Blanche, w/ Stephen Marie-Rhodes, Toronto
2007 – Cyan Arts Festival, w/ Stephen Marie-Rhodes, Toronto, curated by Devin Ostrom
2007 – Tracings, The Red Bird, Montreal, curated by Gina Badger
Publishing & Publications
2012 – Hart House Review, Forthcoming – 2012
2011 – *Kolaj Magazine, Issue #1
2011 – Mekanik Copulaire, France, Issue #3
2011 – Carpaccio Magazine, Spain, Issue #28
2011 – *The Associative Press, Issue #3
2011 – SNAP! Magazine, June, Double D issue – Dictionary of Drawing
2011 – *Papirmasse Issue #14 – My Secret Trombone Song & The Suffering of Food
2011 – Decover Magazine, Issue #9 – Pin Ups
2010 – *Fodder Magazine, January – We Took The Elevator
2009 – Fatigue Magazine, Issue #2 – Excerpt from A Brief Report…
2009 – Soliloquies 13.1 – A Dream of a Child Barfing Marble Paper
2009 – Nightlife Magazine, March – Wrestling The Self
2008 – *Lamination Colony – 2%
2008 – *Selected Works – Pistol Anthology
2008 – *Carousel Magazine #19 – Not Going Nowhere On His Own
2008 – *Four Minutes to Midnight #9 – Dreams Thieve Diction
* = Writing, otherwise visual art was published
Artist Talks & Presentations
Jan. 28, 2012 – Come Up To My Room, Gladstone Hotel, Selected by Deborah Wang & Noa Bronstein
Oct. 18, 2011 – SOVA, Writing & Publishing, taught by Sam Cheuk
Mar. 22, 2011 – Concordia University, PRIN 381 (Book Arts), taught by Jenny Lin
Nov. 2, 2010 – Concordia University, DART 441 (The Culture of Images), taught by Kevin Lo
2010 – Concordia Design Department End of Year Invited Guest
Mar 24, 2010 – Concordia Webster Library, The Death of The Book
Febr 25, 2010 – University of Toronto, Books and Multiples, taught by Yael Brotman
2012 – Spark Box Studio, Picton, Ontario
2011 – Klondike Institute of Arts & Culture, Dawson City, Yukon
Johnson, Ashley. Exhibition Review: Free Paper. Vie Des Arts, Montreal. Winter, 2012.
Ames, Lily. A Regular Day at The Free City Paper Office. CBC Radio: Here and Now. Aug. 22 2011
Best, Hilary. Free City Press: Turning Gallery Space into a Community Hub, Spacing Toronto. Sep. 2 2011
Broken Pencil, Pictorial Profile, Broken Pencil. Issue #53, Nov 2011.
Curated Mag. Amuse Bouche at Rouge58, Curated Mag. May, 3 2011.
Friend, Brandon. Rouge 58 Gallery Presents Amuse Bouche, Be Nice Art Friends. NYC. May. 6 2011.
Frontnack. CEASE presents Jp King, Robot Libre. Montreal, Feb. 09 2011.
Jones, Julia. Dirty Art: An Era of Imagery and Technology, The Link, Montreal. Feb. 15 2011.
McCrea, Kirsten. Artist & Writer Interview: Jp King, Papirmasse. Jan. 26 2011.
Mcgill, Alex. Print’s Not Dead, Local Small Press Fair Expozine Hits Decade Mark, The Link, Nov. 22 2011.
Novak, Cam. Tuesday Morning-After Show, CKUT 90.3FM, Montreal, Feb. 22 2011.
Pelchat-Ouellet, Zoe. Entrevue Jp King Visual Artist and Writer, MASSIVart, Jul. 5 2011.
Souch, Lauren. Toronto Artist Launches Free Newspaper, BlogTO. Toronto. Aug. 10 2011.
1 Love T.O., Free City Paper, 1 Love T.O. Toronto. Sep. 1 2011.
Morgan, Kerry A. Printing Beyond the Plane: A Review of Prints: Now in 3D! The Mid America Print Council Journal, Vol. 18, Nos. 3-4, pages 16-20.
Herland, Karen. Art in Constant Revolution,Concordia Journal. Apr 23 2009.
Jackson, Sasha. Young Guns, Mirror: Montreal Noisemakers 2009,Vol. 24, No. 29 page 32, Jan 8 2009.
Metcalfe, Jason. High-Calibre Micropress,Broken Pencil Issue # 42.Jan 2009.
Peckham, Michael. Book Review: We Will Be Fish,Broken Pencil Issue # 42.Jan 2009.
Warner, Brock. We Will Be Fish Review, Northern Poetry Review. May 14 2009.
Wood, Eric Emin. Canada’s Own McSweeney’s?Quill & Quire. Feb 10 2009.
I work primarily in the mediums of collage, text, print-based multiples and occasionally with relational/installation-based projects. I focus heavily on story-telling techniques that attempt to unpack popular Canadian & American mythologies in whimsical and historically slippery ways.
Seeing the collage original not as an end, but instead as a means to a final print, I often enlarge my works to make visible the delicacy of the paper and ink used in a specific era of source imagery. Through my digital process the original becomes an inexhaustible plate from which variable prints will be pulled. In my collages, the grotesque and awkward gestures of the human body are emphasized through remixing body types, bits, features, and limbs, while seeking a beauty only found in discomfort. With nostalgia I hope to elicit unfolding family myths that can be recounted to a point of fiction.
I use language much like a painter uses a palette. I rely on absurdity to refrain from finger-pointing at what upsets me in the world. Humour becomes a practical device to deliver a softened sadness and emptiness that I know from wrestling with myself. In trying to understand my own masculinity, relationships, and fragmentary family unit, I am carrying, and laying to rest, a handful of feelings around heroship and failure.