Drawn freehand directly on a computer and printed on a high-end inkjet printer, Racine’s drawings do not contain photographs or scanned material. The subjects of his work may be interpreted as models for planned communities or as aerial views of fictional suburbs, referencing the computer as a tool for urban planning as well as image capture. Raising questions about the relation between design and actual lived experience, the works subvert the apparent rationality of urban design, exposing conflicts that lie beneath the surface. These digital drawings are a comment on the fears as well as the dreams expressed in suburban culture. Signed and numbered.

His prints have been shown in solo and group exhibitions in the United States, Canada, and Europe, in venues such as the Musée des Beaux-Arts de Liège (Liège, Belgium), the International Print Biennale (Newcastle, UK), Splitgraphic (Split, Croatia), Shengzhi Culture Space (Beijing), the International Print Triennial (Vienna, Austria and Katowice, Poland), the Des Moines Art Center (Des Moines, Iowa), Drexel University (Philadelphia), the Koffler Centre Gallery (Toronto), the Cain Schulte Gallery (San Francisco), the Front Room Gallery (New York), the Los Angeles Printmaking Society, the International Print Center (New York), and the Manifest Creative Research and Drawing Center (Cincinnati).

His prints have been presented and reviewed in several publications, such as Art In Print (Chicago), Artforum (New York), BOMBlog (New York), BAUWELT (Berlin), STUDIO (Milan), and L'Architecture d'Aujourd'hui (Paris), among others. Racine's art has been rewarded by grants and awards, notably the Johnson & Johnson purchase prize (Hunterdon Museum of Art, Clinton, New Jersey), the Legion Paper Award (North American Print Biennial, Boston) and several grants from the Canada Council. A selection of Racine's prints has won the biennial prize at the Biennale internationale de Gravure contemporaine in Liège, Belgium.

Courtesy of Front Room Gallery