Kim Dorland

Kim Dorland pushes the boundaries of painted representation through an exploration of memory, material, nostalgia, identity and place. Drawing heavily from the Canadian landscape and his huge appetite for the history and language of painting, the loose yet identifiable scenes are interjected with areas of heavy abstract impasto. His refusal to remain faithful to one medium or approach plays into the symbiotic nature of his work.

Born in 1974 in Wainwright, Alberta, Dorland holds an MFA from York University in Toronto, and a BFA from the Emily Carr Institute of Art and Design, in Vancouver. He has exhibited globally, including shows in Milan, London, New York, Chicago and Los Angeles. His work is featured in the Contemporary Art Foundation (Japan), The Sander Collection (Berlin); Musée des beaux-arts de Montréal; Musée d’art contemporain de Montreal; Glenbow Museum (Calgary); Museum of Contemporary Art San Diego, Art Gallery of Alberta, the Audain Art Museum and numerous important private collections. Dorland currently lives and works in Vancouver.


Bogojev, Sasha. Interview: Canadian Painter Kim Dorland on the “Same Old Future,” Juxtapoz Magazine, March 7, 2018

Moe, Karen. Kim Dorland’s “Nemophilia”: Too Much Too Late. Whitehot Magazine, Oct., 2017.

Lederman, Marsha. Coastal Disturbance. The Vancouver Art Gallery has launched a provocative triennial tribute to the city’s artists. The Globe and Mail, December 2, 2016.

Krunák-Hajagos, Emese. Concrete Forest/The paintings of Kim Dorland, NY Arts, November 2016.

Enright, Robert. Painting’s Giant Dia­logue: An Inter­view with Kim Dor­land, Bor­der Cross­ings, Vol­ume 33, Num­ber 1.

Hutchinson, Kristen, Getting to know zombies, Hyperallergic, October 31, 2014

Angel, Sara. ‘Like Tom Thom­son on Acid’,  Maclean’s, Octo­ber 28, 2013.

Whyte, Murray. How Kim Dorland is changing the landscape at McMichael Gallery. Toronto Star, October 18, 2013

Mil­roy, Sarah. Is that the for­est press­ing in, or the Group of Seven, The Globe and Mail, April 26, 2013