The Artistic Practice of Anthony Burnham

Anthony Burnham operates at the intersection of several media, refusing to settle into a single category. Based in Montreal, where he was born in 1973, his practice is defined by a constant tension between different modes of representation. He does not merely paint; he uses painting, sculpture, photography, installation, video, and drawing to interrogate how we perceive objects. This intermedial approach creates a dialogue where the medium itself becomes a subject of inquiry. His work is less about the finished object and more about the complex ways images are constructed and consumed in a contemporary landscape.

The foundation of this practice lies in a rigorous investigation of how an image relates to its physical reality. Burnham, who holds a BFA from Concordia University, uses his studio as a site for research, often involving the interplay between sculptural forms and their photographic or painted counterparts. He explores the agency of the image, looking at how a subject is transformed when it moves from a three-dimensional object to a two-dimensional surface. This process is not a simple translation but a reconfiguration that challenges the viewer's reliance on visual certainty. His work remains rooted in Montreal, continuing to push the boundaries of how various media can interact within a single, cohesive practice.

Technique and Stylistic Approach

Burnham’s practice functions as a rigorous re-examination of painting, viewed through the lens of sculpture and photography. He does not merely paint objects; he interrogates the way images of those objects function in contemporary life. By integrating multiple reproduction techniques—including photography, photocopying, and digital printing—he creates a tension between the physical object and its pictorial representation. This approach complicates the viewer's relationship to reality, using hyperrealism and trompe-l’œil to blur the distinction between the actual and the simulated.

The work often moves beyond static representation into the realm of the performative. His recent investigations involve a sense of slippage and manipulation, where the boundaries of the medium become fluid. He explores the moulding of soft, uncontainable matter, such as smoke, to challenge the traditional stability of the painted surface. This focus on the ephemeral and the volatile transforms the canvas from a window into a site of material transformation and spatial interaction.

• Se glisser dans l’image (2024)

Exhibitions and Professional Recognition

Burnham’s presence in the contemporary Canadian landscape is marked by consistent inclusion in major institutional settings. His participation in the 2017 Canadian Biennial at the National Gallery of Canada confirms a level of professional standing that transcends local interest. This institutional recognition is matched by his involvement in the 2008 Québec Triennial, held at the Musée d'art contemporain de Montréal, which placed his work within a significant regional dialogue. His reach extends beyond North America, with exhibitions documented in Spain, Austria, Italy, and France.

The artist’s career is punctuated by specific recognitions from major Canadian art prizes. In 2009, he was a finalist for the RBC Canadian Painting Prize and was also short-listed for the RBC painting competition. These placements were followed by further validation in 2013 when he was longlisted for the Sobey Art Award. Such milestones indicate a sustained relevance within the competitive structures of the Canadian art scene.

• 2017 Canadian Biennial, National Gallery of Canada
• 2013 Sobey Art Award (Longlist)
• 2009 RBC Canadian Painting Prize (Finalist)
• 2008 Québec Triennial, Musée d'art contemporain de Montréal

Awards and Academic Roles

Burnham’s standing in the contemporary Quebec art scene is marked by significant institutional recognition. He was named the recipient of the 11th Giverny Capital Prize, an award designated for the 2026 cycle. This biennial prize identifies excellence and creative rigor in contemporary art within the province. His professional trajectory also includes being a finalist for the RBC Canadian Painting Prize in 2009 and being longlisted for the Sobey Art Award in 2013.

His influence extends into academic environments through a sustained connection to Concordia University. In 2019, he held the position of Artist in Residence in Painting and Drawing at the institution. Following this residency, he continued to contribute to the university's Department of Studio Arts as a part-time instructor, a role he maintained until the summer of 2025.

Where to See the Works Today

Burnham’s presence in major Canadian institutions confirms the weight of his practice. His work is held in the collection of the National Gallery of Canada in Ottawa. This placement ensures his investigations into the nature of the image are preserved within the country's primary art repositories. He is also represented in the collection of the Musée national des beaux-arts du Québec.

The reach of his output extends to significant regional collections and specific curated projects. His work was included in the Musée d'art contemporain de Montréal. Furthermore, his contributions were featured in the Painting Project/Projet Peinture at Galerie de l’UQÀM in 2013. These placements demonstrate a consistent engagement with the institutional frameworks of Quebec and Canada.