Born in Toronto. Lives in London

Solo exhibitions:

2022:
All Ages, Carlos/Ishikawa, London (forthcoming)

2021:
Security, The Douglas Hyde Gallery, Dublin

2020:
The Caretaker, Galeria Jaqueline Martins, São Paulo

2019:
Start Over Every Morning, Kunstverein Braunschweig

2018:
Deliquescing, KW Institute for Contemporary Art, Berlin

2017:
Seeing Is Forgetting What You’re Looking At or What It’s Called or Something, Frankfurt am Main, Berlin
What Would It Be Without You, Talion, Tokyo

2016:
By The Boundary, Statements, Art Basel
By The Boundary, And Now, Dallas
You’d Be So Nice to Come Home To, Supportico Lopez & 6817, Los Angeles

2015:
Standard Ballad, Carlos/Ishikawa, London
Noclip, La Salle de bains, Lyon
It’s Easier To Love Your Song Than It Is To Love You, Stereo, Warsaw
Deliquescing, Lock-up International, London

2014:
It’s Easier To Love Your Song Than It Is To Love You, Supportico Lopez, Berlin

2013:
An Escalator Can Never Break, It Can Only Become Stairs, Carlos/Ishikawa, London

2012:
Buildings are Heavy, Supplement, London

2010:
Sheer Fatigue, Christopher Crescent, London

2009:
Instant Distance / Distant Instance, Outpost, Norwich

Selected group exhibitions:

2021:
Tacet, Gems, New York
Ensemble, Chateau Shatto, Los Angeles
Eight works from 2013, 2020, 2009, 1998, 2019, 2003, 2018, 1998, Wschód, Warsaw

2019:
Artists Use Photography, Praz Delavallade, Los Angeles

2018:
Condo Unit, Galeria Jaqueline Martins, São Paulo
Computer, (curated by Ermes Ermes) Bureau Des Réalités, Brussels
Porcupine, (curated by Artun Alaska Arasli), Van Eyck, Maastricht
Red House, Talion, Tokyo

2017:
Condo, Bureau, New York
Benefit show, Shanaynay, Paris
Accept baby, Forde, Geneva

2016:
How Deep is the Ocean (curated by Arlene Berceliot Courtin), Shanaynay, Paris
An Idle Visitation (organised by ANDNOW, Hester & Tomorrow), Plaza Mercado, Santa Fe
Ver Lento (curated by Francisco Cordero-Oceguera), Centro de la Imagen, Mexico City
Irony Comes from a Vanishing Point (curated by Julia Marchand), Stereo, Warsaw

2015:
Borrowed Alibis, Freymond-Guth Fine Arts, Zürich
Limited Liability Corporation, Frankfurt am Main & LLC, Berlin
City, William Arnold, New York

2014:
In the Wake (curated by Julia Marchand), Truth and Consequences, Geneva
Enigma, Minibar, Stockholm
Fight, Center, Berlin
Pre-Pop to Post-Human (curated by Isobel Harbison), Hayward Touring, UK

2013:
From Morn Till Midnight, Supportico Lopez, Berlin
To Clear The Bush Of Your Garden (with Richard Sides), David Dale Gallery, Glasgow
Every bird brings a different melody to the garden, No Format, London

2012:
Remainder (curated by Alex Ross), Hilary Crisp, London
Technicolour Yawn (curated by Nadim Samman), Import Projects, Berlin & Karst Projects, Plymouth
Painting Without Paint, David Risley Gallery, Copenhagen

2011:
Performance Anxiety (curated by Nicolas Djandji), Stadium, New York
Steve Bishop & Dan Shaw-Town, Christopher Crescent, London
Common Room, Pianissimo, Milan
Studio Artists Group Show, Woodmill, London

2010:
Converse / Dazed Emerging Artists Award, Stephen Friedman, London
New Panorama, Pianissimo, Milan
The Devil’s Necktie, Woodmill, London

2009:
Grey Matter, Talbot Rice Gallery, Edinburgh

Misc projects and publishing:

2020: Start Over Every Morning, exhibition catalog published by Kunstverein Braunschweig, Motto Books & Floating Opera Press, Berlin
2019: Deliquescing, exhibition catalog published by Sternberg Press with KW Institute for Contemporary Art, Berlin
2016: Strangers’ Guide to Home Territories, artist book published by Supportico Lopez with Motto, Berlin
2016: You’d Be So Nice to Come Home To, online project for EBM-T.org, Tokyo
2015: Hello, How May I Help You?, artist book published with La Salle de Bains, Lyon
2014: I See Them, Do You?, online project for Bomb magazine, NY
2014: World Music, group show co-curated with Richard Sides at Carlos/Ishikawa, London
2013: Focus II, artist publication produced with Beyond Entropy Mediterranean
2009 – 2013: Edited and published the biannual paper Mono

Awards:

2019: Exhibition funding – Canadian Embassy, Germany
2019: Exhibition funding – British Council
2018: Exhibition funding – Canada Council for the Arts
2018: Exhibition funding – Arts Council England
2018: Exhibition funding – Canadian Embassy, Germany
2018: Exhibition funding – Henry Moore Foundation
2017: Exhibition funding – Canadian Embassy, Germany
2015: Exhibition funding – Centre cultural canadien, France
2013: Residency – Beyond Entropy/Fondazione MACC, Sardinia
2012: Residency – Artists Unlimited, Bielefeld
2011: Funding for Mono publishing project – The Elephant Trust
2011: Travel grant – Reuben Mackintosh
2010: Converse/Dazed Emerging Artist Award – exhibiting finalist
2007: Research & travel grant – Villiers David Trust

Selected Bibliography:

2021:
Contemporary Art Review LA, Neyat Yohannes, “Ensemble”, Feb 2021

2019:
Artforum, Matthew Herbet, “Deliquescing”, Feb 2019
Contemporary Art Writing Daily, “Start Over Every Morning” May 2019
Canadian Art, “Deliquescing preview”, Winter 2019

2017:
The New York Times, Roberta Smith, “Out-of-Town Galleries Arrive, Bearing Art”, July 13th 2017
Frieze.com, Sam Korman, “Critic’s Guide”, July 4th 2017
ICON, Francesco Garutti, “Artist’s Things”, Jul-Aug 2017

2016:
Frieze.com, Paul Teasdale, “By the Boundary” Aug 2016

2015:
This is tomorrow, David Price, “Standard Ballad” Feb 2015

2013:
Artforum, Gilda Williams, “An Escalator Can Never Break”, Apr, p.269-70
Kaleidoscope, Karen Archey, “Post Materiality”, Summer Issue #18, p. 36 & 41
Modern Painters, Rob Sharp, “An Escalator Can Never Break”, May, p.105
Art Monthly, Chris Fite-Wassilak “London Round-up”, Apr, p.33

2012:
Mousse, Laura McLean-Ferris, “The Air Medium”, #36 Dec/Jan, p. 148-151
Art Review, Oliver Basciano, “Off-Space Travels – No.4: Supplement, London”, Mar, p. 40-41
Frieze, Martin Herbert, “Steve Bishop & Dan Shaw-Town”, Issue 114, Jan/Feb 2012, p.136

2011:
Art Review, Oliver Basciano, “Steve Bishop & Dan Shaw-Town”, Oct, p. 106
Rhizome.org, Orit Gat, Artist Profile, Nov
Modern Painters, Coline Millard, “Why Young London Works”, Oct, p.86