This is Gary Lee-Nova

Gary Lee-Nova (June 26, 1943), born Gary Nairn, is a Canadian painter, printmaker, sculptor, and filmmaker.

In his upfront art career, Lee-Nova spent 15 months in England as a student at Coventry College (1961–1962) and was introduced by his fellow students and teachers to a wider vision of art-making than was straightforward at art speculative in Canada at the time.

As an adolescent and young adult, Lee-Nova had several hero figures, both writers: the American William S. Burroughs, and the Canadian Marshall McLuhan. He has studied, collected, and corresponded similar to Burroughs, and sometimes next carried Burroughsian thinking in further directions in his art-making, Lee-Nova has said. McLuhan’s words about electronic media afterward made him an believer of the computer in his art. He has plus said that his thinking practically art was aided by the use of hallucinogenic drugs as with ease as by what he calls philosophies such as Zen-Buddhism that were becoming popular in the 1950s.

Early in his exhibition history, Lee-Nova held a joint play a role in Vancouver considering Claude Breeze who assisted him in his development. He started making films in 1965 and produced Steel Mushrooms in 1967 in collaboration like Dallas Selman. In 1967, he showed paintings and drawings in Toronto at the Carmen Lamanna Gallery and received compliment from critic (and Vancouver Art Gallery director (1963–1967)) Richard Simmins who said he was the most promising painter from the west coast he had seen in recent years. In 1968, he showed at the Vancouver Art Gallery past Michael Morris Prisma: an environment, described by reviewer Marguerite Pinney as a strange and enthusiastic summer home with programmed light, music and colour.

In Vancouver, he was a co-founder of Image Bank (with Michael Morris and Vincent Trasov) and swift in the Sound Gallery (circa 1965) and Intermedia (1967–1972). He after that worked behind the spectrum as a motif and thereby began the Image Bank’s Colour Bar Research project. In addition, Lee-Nova was lively with the New York Corres-Sponge Dance School of Vancouver, and worked under the fictitious make known of Artimus Rat or Art Rat.

Lee-Nova continued to be a key figure on the West Coast Scene in the upfront 1970s, working behind electronic media and film as with ease as painting and printmaking. He continued to work upon projects that might accept years to execute, or be created with extra artists. For instance, his Out to Metric (1975) in the Vancouver Art Gallery collection, was made in collaboration with artiste Alan Miller. It was created at the mature the metric system was replacing the Imperial system of measurement in Canada and mocks the alter that was occurring in the language roughly measurement through its construction. It used approximately 1400 yardsticks made into a partial room eight feet high.

Lee-Nova’s deed was exhibited at galleries such as the Vancouver Art Gallery, Bau-Xi Gallery (Toronto), University of Saskatchewan, the Western Front, the Morris and Helen Belkin Art Gallery, the Burnaby Art Gallery, the National Gallery of Canada, the Demarco Gallery (Edinburgh) and the Paris Biennale. His papers are in the Gary Lee Nova Fonds, Morris and Helen Belkin Art Gallery, Vancouver.

He has been a hypothetical at the Emily Carr University of Art and Design, Vancouver, Chairperson Interdisciplinary Studies Division (1984–1988), lecturer in linguistics, semiotics and media archives for 7 years and an scholarly in Drawing and Computer Applications for very nearly 25 years (retired 2008). In 2018 he traditional the title Professor Emeritus.