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for our very first cover). And while his work draws from an incredibly
rich and nuanced imagination, in this world, he lives with the kind of
simplicity many of us dream of: no cell phone, no TV, a small family in
an unassuming home beside a creek in the woods of Vancouver Island.
Within that simplicity however, he is able to create artwork with incredible
depth, and the secret, he says, is in the negative spaces.
“As people, we are constantly picking up on the silences, the pauses, the
spaces in between,” Dave explains. “We’re always reading between the
lines, even if a lot of it is subconscious, and often that is where the meat
of a thing is. That’s why I really like black and white drawings, because
even the pen pushing into paper creates tiny ridges that make shadows.
The eye simplifies it, but those shadows create the third dimension, a
textured line in between dark and light.”
As he refills our drinks, Barnes spins the current conversation back to one
we first discussed when he was featured in the Spring 2007 issue, as a
fresh graduate from SheridanArt College in Ontario. Havingmoved back
out west to start a career, Barnes explained how “the warmth of human
error” is what helped differentiate artwork in an industry that was
increasingly digital and saturated with perfect Pantone colours.
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