This exhibition brings together older and newer paintings — on canvas and on the reverse side of plexiglass — to create layered and doubled compositions. These diptychs, overlays, and juxtapositions unsettle clear interpretation, confusing surface and depth, authorship and accident, intention and revision.

Painting on the reverse of plexiglass collapses the chronology of making: what was painted last appears first. I use acrylics, masking, and scraping tools — like razors and repurposed squeegees — to build and disrupt the image. When viewed from the front, the marks appear seamless, almost printed, yet they result from layered gestures, accidents, and decisions made in reverse. I often leave areas unpainted, so the surface remains partially transparent, allowing the works to interact with their environment and shift depending on their placement. Displayed away from the wall, they cast shadows, reveal what's behind, or even mirror the viewer — making context part of the work.

These recent paintings extend concerns that have shaped my practice over time: how the artist relates to institutional, commercial, and studio spaces; how process, failure, and material residue shape meaning; how a single image might be approached multiple ways across time. My earlier work often documented the conditions of painting itself, exposing what usually gets edited out: tools, experiments, mess, repetition. In the new work, that reflexivity returns not only in content but in form. Meaning isn’t fixed but negotiated across iterations.

Delisle holds a BA in Fine Art from the University of Waterloo and an MFA from NSCAD University. He completed a PhD in Visual Arts at York University, where his dissertation – Art Through Sensation: Unfolding Image and Text Together, Through Bacon, Bergson, and Jung – examined image-making as a dynamic interplay of intuition, embodiment, and philosophy.

He teaches studio art at the university level, with a focus on contemporary painting, drawing, and the relationship between creative practice and inner life. His work has been exhibited nationally, and he continues to develop an interdisciplinary practice that bridges traditional painting, digital culture, psychoanalytic theory, and embodied experience.