The artwork of David Spriggs lies in a space between the 2 and 3 dimensions. In his work he explores phenomena, space-time and movement, colour, visual systems and surveillance, the strategies and symbols of power, and the thresholds of form and perception. Spriggs is known internationally for his unique large-scale 3D ephemeral-like installations that use a technique he pioneered in 1999 layering transparent images.

David Spriggs is currently based on Vancouver Island, BC, Canada. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. He received his Master of Fine Arts from Concordia University, Montreal, and his Bachelor of Fine Arts from Emily Carr University in Vancouver. He undertook student residencies at Central St. Martin’s College of Art in London, England (1999) and the Bauhaus University in Weimar, Germany (2006).

Spriggs has exhibited his work internationally at various galleries, museums, and biennales, including: Musée des Arts Décoratifs in the Louvre Paris France, Oku-Noto Triennale Japan, Sharjah Biennale UAE, Noor Riyadh Saudi Arabia, Chroniques Biennale Marseille France, Musée de La Poste Paris France, Powerlong Museum Shanghai China, Times Art Museum Beijing and Chengdu China, 5th International Digital Art Biennial Montreal Canada, the Prague Biennial 5 Czech Republic, the Louis Vuitton Gallery Macau, amongst others.

His work can be found in many private and prestigious public collections such as the Montreal Museum of Fine Arts and the National Museum of Fine Arts of Quebec, and on permanent display in the lobbies of high-profile hotels and public buildings such as the Las Vegas Conrad and Hilton in Resorts World, Shanghai C-Future City, Hyatt Centric Hong Kong, and the Queens Marque Halifax. Spriggs’ artwork ‘Red Gravity’ was used for the cover art of Peter Gabriel’s song ‘Panopticom’.

Spriggs is the recipient of the Académie des Beaux-Arts and Fondation & The Jacques Rougerie Award for Art in Paris, France.

“Spriggs’ work invites us to see-with what is not actually there and to move-with the constellation of what we’re beginning to see. Moving-with perception composing itself, we experience the dynamics of an object becoming spacetime. We no longer simply observe – we are moved by the experience of watching, and we move with it. We note the contours but feel the colors. We see the lines but feel the rhythm. We see-with the becoming-work. This is the activity of plastic dynamism expressing itself through the emergence of a body-image constellation.”

Erin Manning. ‘Relationscapes: Movement, Art, Philosophy’ MIT Press