Dzama’s early drawings were populated by three or four figures, isolated against white backgrounds inspired by the dissolution of the horizon into the landscape during Winnipeg’s snowy winters. With Dzama’s move to New York in 2004, his white backgrounds became more densely populated with figures: swarms of bats, moths, or owls; masked dancers poised in arabesque while holding rifles; processions of human and animal characters, clad in polka-dot bodysuits or entirely nude. Thinking of the drawings as still images of stage productions, Dzama began to use dance choreography to organize this chaos of figures into stylized formations. His works have also taken on a role of socio-political commentary, responding to his daily media diet and politics in the United States. Dzama was a co-founder of The Royal Art Lodge, a Winnipeg collective of artists who created collaborative drawings, and he continues to collaborate with a range of artistic partners—including the New York City Ballet, the artist Raymond Pettibon, and the actress Amy Sedaris—on drawings, performances, and films.https://artsorigin.com/wp-content/uploads/2019/09/pexels-photo-9307966-e1630056146416.jpeg
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