David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary
David Altmejd, ‘New North’, 2007, Arsenal Contemporary

About David Altmejd

“I think about decay not in a negative way, but in the sense of creating a space for things to start growing,” explains David Altmejd, an artist known for severed werewolf head sculptures and other compellingly grotesque works. Altmejd explores materials, processes, and structures in metaphor-infused, diorama-like tableaux, consisting of taxidermy animals, bondage gear, crystals, Plexiglas, and the like. The Giant 2 (2007)—an enormous mixed-media installation featuring a rotting corpse that hosted birds and squirrels in its caverns and sprouted glittering crystals, beads, and faux flowers—embodies the themes of sexuality, decay, and rejuvenation that recur throughout his work. Recently, Altmejd created Vessel (2011), comprised of nearly invisible Plexiglas boxes that suspend disembodied hands and noses in space. “Everything is supposed to be in balance and the box is the field of energy,” he explains.

Canadian, b. 1974

Group Shows

2017

Fair History on Artsy

2015
Xavier Hufkens at FIAC 15