Dawit L. Petros
In 1967, the pianist Glenn Gould traveled a thousand miles by train to the sub Arctic city of Churchill, Manitoba as a precursor to his radio documentary The Idea of North. Gould’s work was a meditation on solitude, isolation, and the relationship between the Canadian imagination and vast tracts of remote, northern land. But more pointedly, the work examines the extent to which a consciousness, national or personal, defines itself through the opposing force of a frontier.
This project connects my own wanderings to the austere landscapes of Churchill, Canada and to Badwater Basin in Death Valley, California through the mechanism of a found photograph of the glacial topography of Mount Kilimanjaro in Tanzania, Africa. The work takes multiple forms: a video installation, photographs, and a wall painting. The objects consider the spaces between, around and behind form, site, and language; spaces resonant with myriad memories and affiliations. Through gestures that mirror and conflate, these works establish a space for the interplay of conceptually and physically distant geographical locations.
Dawit L. Petros’s (Brooklyn, NY) multi-disciplinary artwork investigates the confluence of place and subjectivity. He completed an MFA at the School of the Museum of Fine Arts in Boston in 2007. Petros received a BFA in Photography from Concordia University in Montreal, Canada in 2003, and a BA in History from the University of Saskatchewan in Saskatoon in 1996. Petros’ work has been shown in solo and group exhibitions at such venues as Jack Shainman Gallery, NYC; Observatoire 4, Montreal, Canada; and Tufts University in Boston, MA. He has been awarded the Canada Council for the Arts Project Grant (2008) and FQRSC Research Grant (2004-05). Petros was also awarded a residency at the Center for Photography at Woodstock and is currently serving as Artist-in-Residence at the Studio Museum in Harlem, NYC.