Concrete Facade IX

The artwork Concrete Facade IX is included in the official catalog, having received the International Prize Renoir award at an event held in The California Conference Hall of the Juliana Cannes Hotel in Cannes France.

"The figure can be approached as vulnerable, theatrical, or imposing, with each reading changing the meaning of the architecture around it. If the structure feels protective, it may seem to shelter the figure. If it feels restrictive, the same details can suggest a body caught within inherited forms."

Concrete Facade V

Concrete Facade IV

"Concrete Facade IV, the fourth installment in the series, continues this investigation with remarkable intensity. Measuring 40 x 36 inches, the work presents a figure that feels both monumental and vulnerable, caught in a moment of transformation that resists resolution. Here, Macri’s use of architectural elements becomes particularly pronounced. The figure does not simply stand before a structure. It appears to be emerging from it, or perhaps dissolving into it. The boundaries between body and facade are deliberately ambiguous, creating a sense of unease that is both compelling and thought-provoking."

"Has the human merged with the eagle or vice versa? Or, is Macri making a profound statement about the militarization of the masculine and the instinctive, predatory nature of the male? The portrait offers little suggestion of alternative ways of being. The symbolic eagle with victorious, outspread wings is framed multiple times on the wall behind the head, further strengthening the relationship between human and architecture, as well as the inherent predatory nature of the male specifically, or humanity generally. There is also something overly-elaborate about this image, verging on satire, as if Macri is poking fun at the arrogance and pretentions of the mighty warrior."

Concrete Facade III

"There is indeed something disquieting about the grotesque face of Concrete Facade III, with its resemblance to the Jahrfish series. With the ridged face and protruding mouth, the expression could well express mental disarray, a discombobulation as if the creature has been shocked out of its natural habitat and forced to breathe in a noxious atmosphere. The colouring is more suggestive of water than of earth or cement. Given Macri’s fascinating method of intermingling materials, myths and genders, one may be forgiven for thinking the head of Concrete III has been residing within the head of Facade I all along like an unconscious mockery of martial pretensions and masculine pomposity."

"At the center of Concrete Facade III is a figure with an unmistakably human body but an ambiguous and unsettling face. The character’s mask transforms its identity, replacing recognizable human features with something more distorted and unfamiliar. An enlarged mouth, pointed forms, and exaggerated facial features give the figure a monstrous quality, but its presence suggests more than theatrical horror."

Concrete Facade II

Concrete Facade II presents a commanding stone sculpture of a bearded figure with a braided hair detail, exuding strength and emotion. The intricate architectural backdrop, adorned with statues of armoured guardians, enhances the piece’s grandeur and historical depth. This artwork conveys a powerful narrative through its bold form and detailed craftsmanship. Concrete Facade III features a striking marble bust with an unconventional, almost surreal expression that challenges traditional sculpture norms. The intricate backdrop of geometric and floral reliefs contrasts with the figure’s raw, distorted features, creating a dynamic tension between refinement and chaos. This piece conveys a bold statement on identity and transformation.

"Look at how the artist has altered the face in Concrete Facade II, the outward face, with wide open mouth as if howling, the so-called facade, if you will. We see only the facade, the exterior consequence of hidden rage, turmoil, fear, anxiety. One of the few Macri portraits where emotion is vividly expressed in the face, is this architecture humanized or a man slowly turning to stone, as if he had looked upon Medusa and suffered the consequences?"
~ Kenneth Radu (The Monster in Adamo Macri’s Art)

Concrete Facade 

Concrete Facade is the first completed in a planned series of artworks. The process began with an idea for a digital artwork driven by architecture, specifically inspired by Art Deco buildings of the 1920s. Through extensive research and image collection, various architectural elements were selected, modified, and deconstructed, then reassembled into an abstract collage that blended both real sourced fragments and newly redesigned components. This collage served as a constructed backdrop for a central character statue in the Art Deco style. To realize the character, Macri defined its detailed appearance and captured a reference photograph of himself in a similar pose. Once the collage was finalized, it became the reference guide for creating a digital rendering, built piece by piece like a puzzle until the entire composition came together as a cohesive, surreal digital painting. This approach differs from Macri’s usual practice, in which sculptural objects are physically created and then photographed; here, the work originates from a constructed collage of fragmented images that is transformed into a complete digital artwork.

Macri's art, termed somatic structuralism, presents an architectural perspective where the human body and space intertwine. His works reinterpret styles like Brutalism through an anatomical lens, positioning each portrait as a fragment of a larger architectural narrative—part chapel, part laboratory, part submerged ruin. Masks serve as façades, coral forms act as load-bearing grids, and bodies emerge as temporary wings of shifting structures. Instead of merely decorating, his pieces create distinct environments: Brutalist reliquaries blended with organic growth, parametric baroque designs turning emotions into ornament, and marine-inspired forms reminiscent of submerged city skeletons. For collectors, these artworks embody a spatial logic, influencing how surrounding spaces are perceived and experienced. Faces become load-bearing surfaces, reflecting a fractured identity akin to concrete distressed by rusting rebar. The essence of Brutalism manifests in exposed, monolithic forms that evoke a sense of the sacred yet unsettling, reminiscent of postwar concrete churches and weathered structures. Macri's pieces suggest architectural concepts that challenge traditional aesthetics, expressing structural failures and emotional depths through a unique interplay between art and architecture.

"Based upon my emotional responses to Macri’s art, I am also taken aback by its sepulchral coloration and the appearance of concrete, and the rigidity of its lines, even those that supposedly depict movement. I see a statue guarding a mausoleum entrance, indicating who is entombed: hence, the title Concrete Facade. Yes, the title signals the strong architectural elements of the piece. Macri is especially adept at combining aspects of sculpture, painting, digital photography and architecture, as commonly noted. Although we notice the brutalist aesthetic in the construction of this series, I am inclined to regard it as a dramatization of architecture and sculpture as outward displays of human narcissism and vainglory."


Concrete Facade Series (2026)
Digital Art: Chromogenic C-print
102 x 91 cm

Concrete Facade
Concrete Facade II
Concrete Facade III
Concrete Facade IV
Concrete Facade V
Concrete Facade IX

Adamo Macri: The Uncertain Face of Interlope Ruse
Born in Montreal in 1964, Adamo Macri studied commercial art, photography, drawing, fine arts, and art history at Dawson College. His education gave him several ways to develop an idea, and he has continued to work across sculpture, photography, video, painting, and drawing. The choice of medium changes, but certain questions remain close to the center of his practice. How much can a face reveal? What happens to identity when the body is disguised or altered? Macri’s figures often occupy a space between the human and the unfamiliar, inviting viewers to look closely while withholding a clear explanation. A surface may appear worn or damaged, suggesting a history that cannot be fully recovered. In his work, transformation is both physical and psychological. The viewer encounters a figure, then begins to wonder what experiences, fears, or memories might have shaped its appearance.

Interlope Ruse (2024)


A helmet covers much of the figure in Interlope Ruse, yet it offers little sense of protection. Its aged, fractured appearance makes it seem as vulnerable to time as the face beneath it. The hollow gaze and guarded profile suggest someone watching from behind a barrier, aware of an outside threat but unwilling to reveal a response. Macri gives the portrait the presence of an excavated object. Earthy color and worn details invite the viewer to imagine where it has been, although the work supplies no definite place or period.

That uncertainty is central to its effect. At first, the helmet suggests a soldier, guardian, or survivor. The longer one looks, the less securely any of those identities fits. The figure could be hiding, preparing to confront something, or emerging after an encounter that has already changed it. Even its apparent age is difficult to place. It resembles a remnant of an ancient world while carrying concerns that feel immediate: damaged environments, altered bodies, and the need to protect oneself from forces that are hard to see.

Interlope Ruse belongs to Macri’s Jahrfish project, in which the fish recurs as a way to consider mutation, contamination, and the effects of human intervention. In this work, the reference to aquatic life does not settle into a simple illustration. It is absorbed into a hybrid figure whose origins remain uncertain. Human, animal, and invented qualities seem to overlap. The portrait appears to have been shaped by its surroundings, as though the environment has left marks on its body. Its condition raises a question that runs through the series: when a living form changes under pressure, where does adaptation end and damage begin?

The title deepens that ambiguity. An interloper enters a place where they may not be welcome; a ruse conceals an intention. Together, the words make the figure’s position difficult to judge. Is it an intruder wearing a disguise, or a vulnerable being that has learned to hide? Could the apparent threat lie outside the portrait, in the world that produced it? Macri leaves those possibilities open. The work draws the viewer into an uneasy act of interpretation, where each attempt to assign a role reveals another way to read the image.

Its weathered surface also matters. Cracks and worn passages give the figure a history without describing that history outright. The viewer may read the marks as evidence of conflict, exposure, or slow erosion. They could equally suggest a body in the midst of becoming something else. What looks ancient may be the remains of a future imagined through ecological change. By refusing a clear timeline, Macri allows the portrait to move between relic and warning.

There is a quiet intimacy beneath the work’s unsettling appearance. Despite the helmet and altered features, the figure faces us as a portrait. Its gaze creates the familiar expectation that a face might disclose a feeling or a personal story. Here, that exchange remains incomplete. We can see signs of endurance, but we cannot know what has been endured. The distance between recognition and understanding gives Interlope Ruse much of its emotional force.

Within the larger Jahrfish project, the work offers no single account of transformation. It presents change as something that can be imposed, resisted, or used for survival. The figure seems to carry traces of all three possibilities. Macri asks us to stay with that uncertainty and consider what the visible surface can tell us about an altered life—and what it continues to keep hidden.


Adamo Macri: The Uncertain Face of Interlope Ruse
Published September 29, 2026

Bias

The artwork Bias was featured in the catalog for the International Prize Caravaggio, where an award ceremony was held at the Palacio de Santoña in Madrid, Spain. It is also the subject matter of an article by Showcase My Art.

"Another powerful and haunting piece of art. The intricate layers and tangled forms seem to symbolize the masks we wear, the struggles we carry, and the way our true selves can become hidden beneath society’s expectations and judgments. There is something deeply human in the contrast between concealment and vulnerability, as though a voice is trying to emerge from within the chaos. Art like this reminds us that beauty is not always found in perfection, but in the emotions, questions, and truths it dares to reveal."
~ Tya Gem (Metamorphosis Art Gallery, Taiping Malaysia)
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"It has a religious, “Crown of Thorns“ vibe to it, not sure if it was your intention?"
~ Laurie Lanaro (Creative Director, designer, graphic artist, Quebec)
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"Thank you for sharing. The details indeed are intricately crafted. It is a cute 'devolito'!"
~ Ida Tomshinsky (International Fine Arts College, Library Director Florida National University)
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"Submerged by wounds, but clawing back to the surface healing. Really fascinating portrait.. hiding and yet so revealing.. great story telling.. The mystery is in the eye, it's inviting. If it was easy, it would not happen, or be so strong. Timelessness and amazing balance."
~ John Felice Ceprano (Ottawa rock sculptor, painter)


Adamo Macri: Exploring Identity, Nature, and the Hidden Structures That Shape Perception
Showcase My Art


Adamo Macri is a Montreal-based multidisciplinary artist whose work challenges conventional ways of seeing both ourselves and the world around us. Working across sculpture, photography, painting, video, and drawing, Macri creates immersive visual narratives that investigate identity, transformation, contamination, and humanity’s evolving relationship with nature. Rather than producing isolated artworks, he approaches each project as part of an ongoing anthology of interconnected stories, where every piece contributes to a larger exploration of human experience.

A defining aspect of Macri’s artistic practice is his willingness to blur the boundaries between creator and creation. His own body frequently becomes part of the artwork, serving as both subject and medium through which complex ideas unfold. This physical transformation is not merely performative but deeply conceptual, allowing him to examine how identity is shaped by external forces, environmental influences, and psychological perceptions. Through this innovative approach, Macri encourages viewers to question what they believe they know while confronting the unseen systems that shape everyday thought.

A Multidisciplinary Practice Rooted in Transformation

Macri’s work resists categorization. Sculpture, photography, video, painting, and drawing are not separate disciplines within his practice but interconnected languages that support one another. His sculptures often extend beyond static objects, becoming evolving events that change through context, interpretation, and the viewer’s participation.


This fluidity reflects one of the artist’s central concerns: transformation. Whether examining physical metamorphosis, environmental contamination, or shifting identities, Macri explores how nothing remains fixed. Human beings, landscapes, and even ideas exist in continuous states of change.

Rather than offering straightforward narratives, his artworks invite audiences into layered visual experiences where symbolism, materiality, and emotion intersect. Every project becomes an opportunity to question assumptions about the natural world, the human body, and the cultural beliefs that quietly influence perception.

Bias: A Meditation on Nature and Perception

One of Macri’s most compelling works, Bias, exemplifies his ability to transform familiar materials into profound psychological landscapes.

The composition presents a dark, nearly indistinguishable figure almost entirely consumed by an intricate network of dried wild plants. The human form is difficult to identify with certainty, existing somewhere between person, creature, and hybrid organism. The viewer’s attention immediately settles on the head, pressed deeply into tangled vegetation that appears to have held its captive for an immeasurable length of time.

Diagonal strands of brittle plant fibers weave across the image like an elaborate net. Their arrangement subtly recalls fabric cut “on the bias,” where diagonal threads alter the way cloth drapes across the body. In Macri’s interpretation, however, these organic fibers do not provide comfort or elegance. Instead, they cling to the figure like an involuntary garment of confinement, transforming nature itself into an instrument of entrapment.

Beauty That Conceals Unease

The restrained color palette strengthens the emotional atmosphere of Bias. Deep greens, muted browns, and faded beige tones create an environment that feels ancient, weathered, and unmistakably organic. The visual language evokes dried grasses, forest remnants, and natural decay.

Against these subdued earth tones emerges one startling detail: a pair of vivid red lips.

Only partially visible beneath the vegetation, the lips introduce the painting’s strongest emotional note. Slightly parted, they suggest a suspended breath, silent fear, or an unfinished plea. Their saturated color becomes the focal point of the composition, simultaneously representing life, vulnerability, temptation, and danger.

This singular accent transforms the emotional reading of the work. Is the figure trapped by nature, or perfectly camouflaged within it? Is it predator or prey? Macri deliberately refuses a definitive answer, allowing uncertainty itself to become part of the artwork’s meaning.

Unpacking the Many Meanings of Bias

The title Bias functions on multiple conceptual levels.

In everyday language, bias refers to prejudice or a tendency toward particular beliefs. In statistics, it describes systematic distortions that influence outcomes. In textile design, fabric cut on the bias follows diagonal threads, changing the material’s flexibility and movement.

Macri weaves these definitions together into one visual statement.

The lattice of dried plants literally resembles a bias-cut textile while symbolically representing the invisible assumptions that shape human thinking. The figure becomes wrapped not only in vegetation but also in inherited beliefs, cultural narratives, and psychological frameworks.

The artwork asks viewers to consider how perception itself can become entangled within structures that feel entirely natural but quietly distort reality.

Challenging the Myth of the “Natural”

One of the most thought-provoking aspects of Bias is its examination of what psychologists describe as the “naturalness bias” the widespread belief that natural things are automatically healthier, safer, or morally superior to synthetic alternatives.

Every visible element within the image appears organic. The dried grasses, woven fibers, and earthy textures evoke simplicity, purity, and authenticity.

Yet nothing in the composition feels protective.

Instead, nature becomes oppressive. The vegetation suffocates rather than shelters. What initially appears peaceful gradually reveals itself as restrictive, even threatening. The plants resemble both ancient burial wrappings and the grasp of a carnivorous organism, suggesting that beauty and danger often coexist within the same environment.

Macri uses this unsettling contradiction to expose how easily romanticized ideas about nature can obscure its complexities. The work encourages viewers to reconsider assumptions that equate the natural with the harmless while acknowledging that both natural and human-made systems possess the capacity for creation and destruction.

The Language of Material and Metaphor

The dried vegetation carries additional symbolic weight through its relationship to textiles.

Before becoming thread or cloth, plant fibers exist as raw organic material. In Bias, these fibers never undergo refinement. Instead of being woven into garments chosen by the wearer, they attach directly to the body, creating an unwanted cloak imposed by circumstance.

This transformation suggests that many of humanity’s deepest biases operate similarly.

Rather than consciously selecting our beliefs, we inherit them through culture, upbringing, environment, and repeated experience. Like invisible garments, these assumptions shape perception long before we recognize they exist.

Macri’s imagery invites reflection on how these inherited patterns influence everything from personal identity to cultural attitudes toward nature, science, and society itself.

Time, Contamination, and Stillness

Another remarkable quality of Bias is its powerful sense of time.

The figure appears frozen within the vegetation, suggesting not a sudden capture but a gradual process of encasement. Layers of dried plants imply years of accumulation, echoing how bias develops slowly through repeated exposure rather than isolated moments.

This temporal dimension aligns closely with recurring themes throughout Macri’s broader practice. Contamination, for him, extends beyond physical substances to include ideas, beliefs, memories, and visual imagery. Just as pollen spreads invisibly across landscapes, assumptions quietly attach themselves to human consciousness, influencing thought without immediate awareness.

The artwork therefore becomes less about an individual trapped in nature than about the systems that slowly immobilize perception itself.

Art That Invites Reflection

Throughout his multidisciplinary career, Adamo Macri has consistently challenged audiences to examine the hidden relationships between body, environment, identity, and belief. His works do not provide easy conclusions or moral certainties. Instead, they create spaces where ambiguity becomes intellectually productive.

Bias embodies this philosophy with remarkable precision. Its organic beauty attracts the viewer before gradually revealing deeper tensions surrounding perception, environmental ideals, inherited assumptions, and psychological entrapment. The work succeeds because it does more than illustrate the concept of bias; it allows viewers to experience it firsthand.

By combining meticulous visual construction with rich conceptual depth, Macri demonstrates how contemporary art can simultaneously engage the senses and provoke critical reflection. His multidisciplinary practice continues to expand conversations about transformation, contamination, and identity, reminding us that the most powerful works of art often reveal the invisible forces shaping how we understand ourselves and the world around us.

In Bias, those invisible forces become tangible. The beautiful web of dried vegetation serves as both a visual masterpiece and a philosophical metaphor, challenging us to recognize the elegant traps we inherit, the comforting narratives we embrace, and the unseen structures that quietly guide our perception long before we realize we are caught within them.


Adamo Macri: Exploring Identity, Nature, and the Hidden Structures That Shape Perception
Published July 7, 2026

Bias, 2016
Photography: Chromogenic C-print
76 x 76 cm
Overall: 87 x 87 x 4 cm

Adamo Macri: The Space Between

Born in Montreal in 1964, Adamo Macri works across sculpture, photography, painting, video, and drawing. Objects provide the starting point for much of his practice. He constructs forms, considers how they meet the body, and uses framing and light to give those forms a life within an image. A photograph may be the final work, but it carries the presence of what Macri has built by hand. His approach allows a sculpture to become part of a portrait and a portrait to suggest an event beyond the frame.

Macri returns often to identity and transformation. In his staged images, a face may be partly concealed or altered, while the figure remains recognizably human. These changes invite viewers to look closely at how appearance shapes their sense of a person. Across mediums, Macri treats the physical form as something open to revision, capable of expressing experiences that are difficult to name.

Intermezzo (2024)


An intermezzo occupies the space between larger parts of a composition. It may offer a pause, but it also prepares us for what comes next. Macri gives that interval a human form in Intermezzo. A solitary figure appears within a carefully staged scene, with an elaborate construction surrounding the head. The image holds the figure at a moment that feels temporary yet intense, as though a change has begun but has not reached its conclusion.

The headpiece draws attention first. Its shape suggests several things at once: a mask, an ornament, and a form growing from the body. Its intricate surface makes it hard to tell where the person ends and the constructed element begins. That uncertainty gives the portrait its tension. We can see a figure before us, yet the usual clues by which we read a face have been changed. The work asks us to spend time with that altered presence rather than settle quickly on an identity.

Macri’s use of sculpture matters here. The construction has weight and texture; it occupies space around the figure instead of appearing as a fleeting visual effect. Its physical presence makes the transformation feel deliberate. Someone had to imagine the form, build it, place it, and account for how it would look under the light. The resulting photograph holds all of those decisions in a single moment.

The staging also gives Intermezzo a theatrical quality. The figure could be waiting to enter a scene or resting after one has ended. Costume, pose, and shadow suggest a performance, though Macri leaves its story unwritten. We do not know what happened before this image or what the figure will do next. That absence allows the pause to become the subject. The viewer encounters a moment that would ordinarily pass unnoticed between more decisive actions.

At the same time, the work feels inward. The construction around the head can be read as a visible form for thoughts or feelings that have yet to settle. It appears to change the figure as much as it conceals them. A conventional mask might allow someone to assume a familiar role; this one offers no role we can readily identify. It leaves the person suspended between possible versions of themselves.

Light strengthens that sense of suspension. Illuminated details bring the figure close, while darker areas withhold information about the surrounding space. The image has the concentration of a film still: it suggests movement on either side of the captured moment without showing that movement directly. Our attention returns to what is present now—the figure, the constructed form, and the quiet pressure between them.

Macri has described building sculptural elements before photographing them, with facial position, accessories, and lighting contributing to the final composition. In Intermezzo, that method gives the image an unusual density. It is a photograph of a staged encounter, yet it also records the meeting of sculpture and body. Each medium adds something: the constructed object changes the figure, while photography fixes their brief relationship in time.

The title offers another way to understand the work. An intermezzo is often considered a connecting passage, valued for how it leads from one part to another. Macri slows that passage down. He asks what might be visible while a person is between roles, before an unfamiliar state has become familiar. The figure’s uncertainty is given room to exist without being explained away.

This makes Intermezzo a portrait of transition. Its drama comes from a body and an object sharing one image so closely that neither can be understood in isolation. Macri leaves the transformation open, allowing viewers to imagine different beginnings and endings. What stays with us is the interval itself: a moment when identity seems tangible, carefully made, and still capable of changing.


Adamo Macri: The Space Between
Published September 29, 2026


Best Contemporary Visual Artists Worldwide Guide & Catalog Vol.4
Publication - Sweden 2026


Salò


Adamo Macri’s artistic practice operates as an experiment in transformation, emphasizing materials, the body, and the essence of artwork. He works across various mediums, prioritizing concept over form. Projects often transition from sculpture to performance and potentially conclude as photographs or video stills. 

This fluidity blurs disciplinary boundaries, focusing on experiences rather than fixed outcomes, resembling episodes in an evolving narrative of identity. 



Best Contemporary Visual Artists
Worldwide Guide & Catalog Vol.4
Publisher: Alex Colard ADAGP-PARIS
2026 - Hardcover

Adamo Macri: The Figure Within the Facade

Born in Montreal in 1964, Adamo Macri studied commercial art, graphic design, photography, art history, and fine arts at Dawson College. Sculpture remains an important part of his practice, but his ideas also take shape through photography, video, painting, and drawing. Moving among these forms allows him to consider how an image changes when it is constructed, recorded, or placed in a new setting. Across his work, identity is rarely settled. A face may function as a mask; a body may seem to belong partly to its surroundings. Macri returns to figures that resist easy recognition, giving them qualities that feel human, symbolic, and invented at once. His interest lies in the moment when a familiar form begins to change, and the viewer must decide what, or whom, they are seeing.

Concrete Facade IX (2026)


In Concrete Facade IX, Macri brings the human figure and its architectural setting into unusually close contact. The bust-like subject seems to occupy a threshold between a person and a structure. Flesh, stone, and ornament appear to press into one another, making it difficult to imagine where one ends and another begins. The figure has the presence of a monument, yet it does not feel entirely still. Its identity appears to be forming within the image.

That uncertainty changes how the facade is understood. Architecture often suggests permanence: a building preserves the choices and beliefs of the people who made it long after they are gone. A face, by comparison, is usually read for signs of individual feeling. Macri draws these two kinds of surface together. The figure seems marked by the structure around it, while the architecture takes on something of a bodily presence. Neither serves simply as the other’s backdrop.

The work’s sepia coloring deepens this connection. It gives the image the atmosphere of something remembered or uncovered, though its world remains difficult to place in a particular period. Classical references suggest a distant past, while the assembled character of the figure points toward invention. The result feels suspended between an artifact and a scene still in progress. Viewers may recognize the visual language of historical portraiture or sculpture, but the subject refuses the stable identity such traditions often promise.

Macri has described the first work in the Concrete Facade series as a digital artwork developed from architectural research, altered fragments, collage, and a reference photograph of himself. Knowing something of that process offers another way into Concrete Facade IX. Its apparent monumentality can be read alongside the acts of selection and assembly behind the series. A convincing figure emerges from parts, just as a public identity can be shaped from appearances, roles, and expectations.

The mask is central to that reading. It may conceal a person, but it can also become the means by which a person is seen. Here, the face suggests a constructed persona that cannot be peeled away to reveal a simple, unchanged self beneath it. The surrounding ornament adds to this impression. It seems to participate in the figure’s making, as though history and setting have become part of its anatomy. What looks like a portrait becomes a question about how much of a person belongs to the world that has shaped them.

There is also a creature-like quality to the subject. It occupies an uneasy place between sympathy and estrangement: recognizable enough to invite a human response, unfamiliar enough to resist it. Macri leaves that tension open. The figure can be approached as vulnerable, theatrical, or imposing, with each reading changing the meaning of the architecture around it. If the structure feels protective, it may seem to shelter the figure. If it feels restrictive, the same details can suggest a body caught within inherited forms.

The numbering of Concrete Facade IX adds another layer. Although the series page presents the first four works alongside this ninth installment, the images need not be read as a continuous story with every intervening event supplied. The gap allows IX to feel like a fragment of a larger account. It has connections to the earlier figures, yet it holds its own questions about appearance and transformation. The viewer arrives in the middle of that account and is free to imagine what has changed.

Ultimately, Concrete Facade IX does not offer a completed metamorphosis. Its force lies in keeping the process visible. The figure is at once human and architectural, old in atmosphere and newly assembled in form. Macri uses those unresolved relationships to make identity feel less like a permanent likeness than something continually made, altered, and seen anew.

According to the award information supplied for this article, Concrete Facade IX was included in the official catalog for the International Prize Renoir event held in Cannes, France, on September 12, 2026.


Adamo Macri: The Figure Within the Facade
Published September 29, 2026


Adamo Macri: Identity, Transformation, and the Haunted Body in Nevermore


Adamo Macri is a Montreal-based artist whose multidisciplinary practice brings together sculpture, photography, painting, video, and drawing. Rather than treating these mediums as separate forms of expression, Macri uses them as interconnected tools for exploring complex questions surrounding identity, contamination, transformation, and the relationship between the human body and the natural world.

At the center of his practice is an interest in transformation. His works frequently move beyond conventional representations of the human figure, turning the body itself into an artistic material. Through carefully constructed interventions, Macri alters his physical presence and incorporates sculptural elements, textures, and forms that transform the figure into something simultaneously recognizable and unfamiliar.

This approach allows his projects to exist somewhere between sculpture, performance, photography, and narrative. The resulting images are not simply records of objects or poses. Instead, they document carefully developed occurrences in which the artist’s body becomes a site where different stories, identities, and emotional states can emerge.

Nevermore

Macri’s work therefore encourages viewers to consider sculpture and portraiture not as fixed objects, but as evolving events. Each project becomes part of a larger anthology of visual narratives, reflecting an ongoing investigation into what it means to construct, alter, and experience identity.

Nevermore: A Visual Encounter with Poe

One of the works that demonstrates this approach is Nevermore (2017), a portrait-based work that draws its conceptual atmosphere from Edgar Allan Poe’s famous poem The Raven. In Poe’s poem, a grieving narrator is visited by a mysterious raven whose repeated response, “Nevermore,” becomes a haunting refrain associated with loss, memory, and the impossibility of recovering what has been lost.

Macri does not simply illustrate Poe’s poem. Instead, he translates its psychological atmosphere into a visual language built around the human figure. The emotional world of The Raven becomes a starting point for exploring grief, introspection, haunting, and psychological tension through the body.

In Nevermore, a muscular male figure emerges partially from shadow. His somber expression and dishevelled hair contribute to an atmosphere of quiet internal struggle. Rather than presenting the figure as a straightforward portrait, Macri surrounds and partially obscures the body, allowing it to dissolve into darkness, texture, and atmosphere.

The result is an image in which the figure appears to exist between physical presence and disappearance. The body seems to emerge from the surrounding gloom while simultaneously being absorbed by it.

The Body as a Sculptural Event

The treatment of the body is particularly significant within Macri’s artistic vocabulary. In Nevermore, the figure does not function simply as a person being photographed. The body becomes a sculptural event, transformed through materials, textures, lighting, and carefully staged elements.

This process reflects Macri’s broader interest in using his own physical presence as part of the artwork. Rather than separating the artist from the object, he allows the body to become both subject and material.

The distinction between human figure and constructed environment consequently becomes uncertain. Edges dissolve, textures appear to extend beyond conventional anatomy, and the figure seems to become part of an atmospheric landscape.

This transformation also connects to Macri’s recurring interest in contamination. In his work, contamination can be understood not simply as something physical, but as a metaphor for the way experiences, memories, emotions, and external influences can alter identity. Something encountered in the past can remain within the body, changing how the self is perceived.

Beauty, Unease, and Metamorphosis

The visual language of Nevermore brings beauty and unease into close proximity. Deep burgundy, ink-black, and bruised tones create a muted palette, while the softly blurred background produces a dreamlike environment.

The figure possesses both vulnerability and physical strength. Its posture and expression suggest introspection, yet the body remains visually imposing. This contrast prevents the work from reducing melancholy to a single emotional state.

Instead, Macri presents psychological experience as something complicated and unstable. Vulnerability can coexist with resilience, while beauty can exist alongside discomfort.

Materials and textures suggest lace, feathers, veils, or other layered surfaces. These elements contribute to a ceremonial quality while also introducing associations with transformation and otherness. The resulting image feels less like a conventional portrait and more like a visual poem in which atmosphere carries as much meaning as recognizable objects.

The reference to Poe’s raven further intensifies this effect. The word “Nevermore” carries associations of repetition, refusal, memory, and irreversible loss. Within Macri’s work, however, the literary reference becomes embodied. Rather than depicting a raven or recreating a scene from the poem, the artist allows the emotional implications of Poe’s language to inhabit the figure itself.

From Symbolism to Contemporary Self-Presentation

Nevermore can also be considered in relation to traditions of Symbolist and Surrealist portraiture. Symbolist artists often used dreamlike imagery, unusual figures, and metaphorical environments to explore psychological and spiritual concerns. Later Surrealist approaches similarly blurred the boundaries between the body, objects, dreams, and the unconscious.

Macri engages with these traditions while using a distinctly contemporary process. Rather than relying solely on painted illusion, he constructs physical elements and incorporates them into the body before photographing the resulting transformation.

The photograph consequently records a constructed state. It captures a persona that has been deliberately assembled in the studio, making the work simultaneously an image, a performance, and a sculptural experiment.

This approach also raises questions about contemporary identity. The figure in Nevermore can be understood as a staged persona, but the staging does not make the emotional experience feel artificial. Instead, it suggests that identity itself can involve construction, presentation, concealment, and transformation.

A Work That Extends Beyond the Studio

The significance of Nevermore within Macri’s practice has also extended into the institutional art world. The work was selected for inclusion in Atlante dell’Arte Contemporanea, a publication associated with the Patron of The Metropolitan Museum of Art, and was presented in connection with the 60th Venice Biennale Padiglione del Libro.

The selection was made by the Start Group Corporate’s council of curators and art critics. The publication’s inaugural events included presentations in Florence at the Teatro-Libreria Giunti Odeon and at The Metropolitan Museum of Art in New York, placing Macri’s work within an international context extending beyond its original studio setting.

These presentations provide another dimension to Nevermore. What begins as an intimate investigation of the body and its psychological states becomes part of a broader conversation about contemporary art, identity, and visual storytelling.

The Haunted Self and Continuous Transformation

Ultimately, Nevermore reflects many of the central concerns that define Adamo Macri’s artistic practice. Contamination, metamorphosis, identity, and the body converge within a single constructed image.

The work can be viewed as a meditation on what remains after loss. Poe’s “nevermore” suggests something that cannot return, while Macri’s transformed figure suggests that experiences of loss and memory can nevertheless continue to shape the person who remains.

The body becomes a place where stories accumulate. Past experiences appear as textures, shadows, coverings, and alterations rather than as straightforward narrative details. The photographic image preserves a moment of transformation, while the constructed elements imply that the moment itself was temporary.

In this sense, Nevermore is not simply an artwork about darkness or grief. It is about the unstable process through which identity is continually formed and re-formed. Macri turns the body into both canvas and sculpture, allowing literary memory, physical transformation, and psychological atmosphere to converge.

His multidisciplinary practice ultimately challenges the boundary between artwork and artist. Through sculpture, photography, performance, and constructed imagery, Macri creates works that function as visual stories rather than fixed representations. Nevermore embodies this approach with particular intensity, transforming a familiar literary refrain into an exploration of the haunted, changing, and continually reconstructed self.

Explore the artwork: To view Nevermore (2017) and learn more about Adamo Macri’s work, visit the artist’s official artwork page: View Nevermore by Adamo Macri


Adamo Macri: Identity, Transformation, and the Haunted Body in Nevermore
Published September 24, 2026


Adamo Macri’s Concrete Facade III: The Monstrous Transformation of Identity

Adamo Macri’s artistic practice is rooted in transformation. Working across sculpture, photography, painting, video, performance, and drawing, Macri approaches art as an evolving process rather than a fixed category. His projects frequently move between mediums, allowing an idea that begins as a sculptural object to develop into a performance and eventually exist through photographs or video stills. This fluid movement between forms reflects his broader interest in the relationship between materials, the body, identity, and the essence of an artwork.

Rather than allowing medium to determine the meaning of a work, Macri places the concept at the center of his practice. The resulting works often feel like fragments of a larger narrative, with each project presenting a particular moment within an ongoing investigation. This approach becomes especially compelling in his Concrete Facade series, where the human figure encounters architectural structures, repetition, ornamentation, and artificial environments.

Concrete Facade III

With Concrete Facade III (2026), Macri takes this exploration in a distinctly monstrous direction. The work presents an elaborate masked character whose exaggerated features and imposing sculptural presence appear to emerge from an environment defined by architectural repetition and ceremonial order. Cast in a desaturated mint-green cement hue, the figure seems simultaneously ancient and contemporary, resembling a fragment from an imagined monument belonging to a civilization that never fully existed.

A Human Figure Transformed

At the center of Concrete Facade III is a figure with an unmistakably human body but an ambiguous and unsettling face. The character’s mask transforms its identity, replacing recognizable human features with something more distorted and unfamiliar. An enlarged mouth, pointed forms, and exaggerated facial features give the figure a monstrous quality, but its presence suggests more than theatrical horror.

The mask can be understood as a visual representation of the tension between the individual and the identity constructed around them. It does not simply hide the face. Instead, it creates another identity altogether. The figure becomes a person, object, character, and persona at the same time.

This ambiguity is central to Macri’s treatment of the body. The human form becomes a site where different identities can overlap. What appears to be a disguise may also represent an alternative self, a protective surface, or an external manifestation of something normally hidden. The distinction between an authentic identity and a performed identity becomes increasingly difficult to maintain because the mask appears almost inseparable from the body itself.

Architecture, Order, and Disruption

The figure cannot be separated from the architectural environment surrounding it. Behind the character, a patterned surface establishes a rigid visual order through repeated geometric structures and ornamental motifs. This sense of symmetry and repetition creates a strong contrast with the irregularity of the masked figure.

The architecture suggests discipline, structure, repetition, and control. The character introduces distortion, instinct, excess, and unpredictability. Their coexistence creates a tension between the individual and the environment that contains them.

Rather than simply presenting the figure against an architectural backdrop, Macri makes the two appear interconnected. The body seems to have been shaped by its surroundings, yet it also appears capable of disrupting the order around it. The character is simultaneously contained by the architecture and resistant to it.

This relationship gives the work much of its psychological tension. The architecture can be interpreted as an inherited system of forms, expectations, and cultural structures. Within that system, the figure becomes an interruption. Yet its elaborate mask and sculptural appearance echo the ornament surrounding it, suggesting that the character may also be a product of the very environment it appears to challenge.

The Mask as a Symbol of Identity

The monstrous mask in Concrete Facade III functions as more than an unusual sculptural detail. It becomes a language through which Macri explores transformation and unstable identity.

The figure’s distorted face can evoke the repressed, the instinctive, the vulnerable, or the unknown. Its exaggerated features make the character appear threatening, but the work does not reduce the monstrous to something purely negative. Instead, monstrosity becomes a state of transformation.

The character appears caught between recognizable humanity and something else. It is neither completely human nor entirely alien. This in-between quality makes the figure compelling because it reflects the uncertainty involved in changing identities. The mask conceals, but it also reveals. By hiding the ordinary human face, it exposes another dimension of the subject.

The figure therefore raises questions about whether identity is something inherent or something constructed. If a mask becomes integrated with the body, where does the original self end and the performed self begin?

The Relic-Like Quality of Mint Green

Colour plays an important role in shaping the atmosphere of the work. The desaturated mint-green tone moves away from natural flesh colours and the warmer hues traditionally associated with figurative sculpture. Instead, the surface evokes oxidized metal, aged cement, painted plaster, or a weathered architectural object.

This treatment gives the character the appearance of a relic. It feels as though the figure might have been excavated from an unfamiliar civilization, carrying the visual traces of a culture whose symbols have survived while their original meanings have disappeared.

At the same time, the cool and muted colour prevents the figure from becoming simply frightening. Its strange features remain imposing, but the subdued surface introduces a poetic distance. The character becomes both intimidating and vulnerable, as though it is itself undergoing a process of decay, transformation, or rebirth.

The figure consequently appears suspended between different states: human and object, present and ancient, living body and architectural fragment.

The Façade Made Flesh

One of the most significant ideas within Concrete Facade III is the relationship between the character and the surrounding façade. The figure does not appear to be an independent object merely positioned in front of an architectural surface. Instead, it seems to have emerged from the same visual and cultural system.

In this sense, the character can be read as the façade made flesh.

The surrounding architecture represents repetition, ornament, control, and artificial construction. The masked figure embodies the psychological and bodily consequences of these forces. Its grotesque appearance becomes a physical manifestation of an environment that has attempted to impose order on the individual.

This creates an important duality. The character is both intruder and product. It disrupts the architectural pattern while simultaneously reflecting it. Its elaborate appearance echoes the surrounding ornament, suggesting that the monstrous may not exist outside the system but may instead be generated by it.

Macri’s work therefore avoids a simple opposition between human and environment. Instead, the two appear to continuously produce one another.

Between Beauty and Grotesquerie

The visual language of Concrete Facade III also brings beauty and grotesquerie into close proximity. The elaborate sculptural treatment has a decorative quality, while the distorted face introduces discomfort. The architectural repetition creates visual harmony, while the figure disrupts that harmony.

These qualities are not presented as simple opposites. They coexist within the same object and environment.

This combination reflects Macri’s wider interest in the unstable nature of artistic forms. A sculpture can become a performance. A performance can become an image. A body can become a constructed persona. An architectural façade can become a psychological landscape.

The artwork’s meaning therefore remains open and shifting rather than settling into a single interpretation.

An Evolving Narrative of Identity

Concrete Facade III continues Adamo Macri’s investigation into the body as a site of construction, concealment, and metamorphosis. The masked character exists between categories, appearing simultaneously as person and object, face and mask, human form and architectural ornament.

Its elaborate appearance carries both seduction and discomfort. The work invites viewers to consider how identities are formed, how they are performed, and how external structures can influence the way individuals understand themselves.

As the third chapter of the Concrete Facade series, the work expands the idea of the façade beyond a monumental architectural surface. Here, the façade becomes an environment in which identity is manufactured, disguised, and continually transformed. The masked character is its most unsettling inhabitant, a figure that embodies the uncertain boundary between what is hidden within the human subject and what is produced by the structures surrounding it.

Through this combination of sculpture, architecture, symbolism, and psychological ambiguity, Macri transforms Concrete Facade III into more than an image of a monstrous figure. It becomes an exploration of transformation itself, asking viewers to consider whether the monstrous is something concealed beneath the human exterior or something created through the systems by which people attempt to define, organize, and construct identity.

Discover More of Adamo Macri’s Work

To explore more of Adamo Macri’s artistic practice, projects, and visual explorations, visit his official blog: adamomacri.blogspot.com.


Adamo Macri’s Concrete Facade III: The Monstrous Transformation of Identity
Published September 24, 2026

Kenneth Radu Essays

Kenneth Radu Essays - The Art of Adamo Macri 

Kenneth Radu has published books of fiction, nonfiction and poetry. His work has been nominated for a Governor General’s award and twice received the Quebec Writers’ Federation prize for best English-language fiction. He also has written extensively for the online cultural magazine, Salon .II. He has recently completed the manuscript of a new novel, which is now undergoing revisions. 



The Monster in Adamo Macri’s Art
Kenneth Radu - 2026
I have been thinking about monsters and the art of Adamo Macri. Recently, after re-reading Mary Shelley’s novel Frankenstein, I watched Guillermo del Toro’s cinematic rendition of his version of her book. I had also read coincidentally a critical biography not only of Mary Shelly but also of...

A Man of Many Hats: Macri's Millinery Motif

Kenneth Radu - 2026
Various characters in cinema, art and literature are so closely associated with their hats that the two become inseparable, the hat forming part of character and narrative: for example, Basil Rathbone as Sherlock Holmes and his deerstalker cap, or Humphrey Bogart as...


Worn Out: Adamo Macri’s Prêt à Porter

Kenneth Radu - 2025
The artist Adamo Macri no sooner disposes of one head then he grows another like the many-headed hydra, so when focussing on one or two portraits and building responses (I think building is the right word here), we are always aware that new portraits may well undercut or challenge...


Tricky Titles: Adamo Macri Portraits
Kenneth Radu - 2025
While admiring Adamo Macri’s intriguing portrait, Aerosol, I remembered holding a candle and walking with my mother before midnight outside the Orthodox church of my childhood, a symbolic ritual in celebration of the risen Christ on Easter. Even though it’s been decades since I’ve...


In My Dark Gallery: Recent Adamo Macri Portraits
Kenneth Radu - 2025
It’s common knowledge, or commonly stated, that we cannot really know anyone and that we all wear masks of one kind or another. As an artist, Adamo Macri has made stunning use of masking throughout his oeuvre, paradoxically concealing as much as revealing. I think it’s useful to...



Not So Basic Black: Portraits by Adamo Macri
Kenneth Radu - 2024
Two black leather-clad bikers on hefty motorcycles slowed down in front of my house this past summer, as if they wanted to stop and speak to me. Only a few metres from the roadside, I was in the midst of deadheading geraniums. Both drivers wore a black helmet with a black...



Let there be Gold: Three Portraits by Adamo Macri
Kenneth Radu - 2024
They loved their gold and jewels, those Russian aristocrats and Indian maharajahs. What signified power and privilege, social superiority and limitless wealth more than ropes of pearls, clusters of diamonds, wreaths of rubies, and earrings of emeralds. That sexually adventurous...



The Agonies & The Execution: Portraits by Adamo Macri
Kenneth Radu - 2022
Two recent portraits by Adamo Macri have aroused memories of a difficult period during my undergraduate years. I often walked to the Art Gallery of Ontario and spent a couple of hours between classes wandering among and pausing before various works of art. Macri’s...



Veiled Illusions: New Portraits by Adamo Macri
Kenneth Radu - 2022
I have been preoccupied with two recent portraits by Adamo Macri. It wasn't until I was working in a garden among irises in June when various ideas came together. There's no logical explanation for this, but I believe it has something to do with the colour of these particular irises...



Adamo Macri: Pandemic Portraits 
Kenneth Radu - 2021
What is art to do? Covid-19 has emphasized major fault lines in our society: the tragic neglect of the elderly, corrosive racism and xenophobia, social inequalities, the self-righteous posturing of politicians, anti-science hysteria, conspiracy theories and the glorification of ignorance are...



Adamo Macri’s Vlad the Beautiful
Kenneth Radu - 2021
Admiring his artistry, I cannot linger long over Adamo Macri’s extraordinary portrait, Vlad Ţepeş without remembering stories from my childhood. My parents’ boarder and family friend, born and raised in Romania, was particularly adept at impersonating a hungry vampire and other undead...



The Eyes Have It: Adamo Macri’s Sunglasses
Kenneth Radu - 2020
Sometimes focusing on a specific detail in a work of art leads me more deeply into the artist’s vision. In the essay Hirsute Pleasures, for example, I wrote about the appearance and effect of hair in Adamo Macri’s many portraits. The other day, unable to make up my mind, I spent...



Fungible Beauty
Kenneth Radu - 2019
This November I have been thinking about Adamo Macri’s portraits, specifically the one entitled Utterly Fungible and the Suspension of Disbelief. I’ve also been perusing pictures of the Alexander Palace on the outskirts of St. Petersburg, Russia, and remembering my visit there...



Sea Change: Adamo Macri’s Dust Roe
Kenneth Radu - 2019
Not long ago I was watching Monty Don, the English gardening guru, as he wandered among and expatiated about the fabulous water features of the Villa d’Este in Italy, during a segment of his television series on great Italian gardens. When he sauntered by the three ducts of Le Cento...



Adamo Macri’s Triffid and I
Kenneth Radu - 2018
I have been thinking about art, botany, monsters and sex. It never fails to impress me how a portrait by Adamo Macri can root itself in my mind like a plume poppy or snakeroot or any perennial of your choice, however common or exceptional. One early morning this past week...



Behind this Shield: Adamo Macri’s Ancile Portrait
Kenneth Radu - 2018
Adamo Macri’s recent exhibition, Identity Matrix, held in Montreal’s Erga Gallery (November, 2017), is certainly well named. The collective portraits bring home the fact that viewers should be wary of making absolute assumptions about his art, however much this particular admirer can...



Hirsute Pleasures: Getting in Adamo Macri’s Hair
Kenneth Radu - 2017
I have been thinking about hair in various portraits by the intriguing artist Adamo Macri. Coincidentally or not, I have also been reading a fascinating ethnographic study called Entanglement: The Secret Lives of Hair by anthropologist Emma Tarlo. Attention to specific...



Out of the Desert He Rises: Distress and Macri’s Leaven’s Freedom
Kenneth Radu - 2016
Out of the sandstorm, out of the whirlwind he rises and then he pauses in the midst of seeing through veils of illusion, for he sees what we cannot, and he sees what we wish to see, but we behold him resting out of the maelstrom. Although blinded by sand, we are as dust unless we...



Macri’s Orgasmic Forge
Kenneth Radu - 2016
The night is thick with heat and windless humidity. I am restless and stimulated, my body temperature rising in the dark room as I stare at and am consumed by an extraordinary Macri image: Drop Curtain. I have no idea what Macri intends by this image, his title notwithstanding...



Serpents in my Dreams: Adamo Macri’s Snake Portraits
Kenneth Radu - 2016
Adamo Macri, the multi-media artist, is a fascinating snake slithering among the flora in my imaginary and real gardens, coiling in the undergrowth, and shedding one identity to reveal another. Most of us have a physiological and cultural reaction to snakes, something the artist...



Ghost in the Wings: Macri and Me
Kenneth Radu - 2015
Restless, unfocussed, strange inchoate stirrings, I rise from my desk and stare out the window. Partially illuminated, the gibbous moon filters its reflected light through the still leafy trees. A walk outside in the autumn chill would clarify my thoughts and relieve tensions, but my computer...



Alternative Waters: a Personal View of Recent Macri Portraits
Kenneth Radu - 2014
People familiar with Adamo Macri’s portraits may well experience an aesthetic shock to see a picture of the artist with his eyes wide open. So many of his self-portraits depict the eyes averted, lowered, askance, or rarely looking directly at the viewer that I was taken aback by a recent...



Behold the Man: Self-Portraits of Albrecht Dürer & Adamo Macri
Kenneth Radu - 2013
After long perusal of Adamo Macri’s fascinating self-portrait entitled Pinus Attis, I have become aware of having seen something similar before. To be sure, this is merely my own casual and arguably eccentric response to the multi-layered meanings of a Macri picture. The artist has...



Art of the Orifice: Adamo Macri’s Verboten
Kenneth Radu - 2012
The human body has always been the source of pleasure and revulsion, at once the embodiment of ecstasy and excrement, delight and disgust, beauty and brutality, dream and nightmare. In his great satire Gulliver’s Travels Jonathan Swift depends upon such antithesis in his portrayal...



Macri’s Pink Narrative
Kenneth Radu - 2012
In the film Funny Face starring the exquisite Audrey Hepburn and the light-as-air Fred Astaire, the dynamic Kay Thompson in her role of fashion editor proclaims that it’s time to “Think Pink!” We are then treated to a frenzy of pink haute couture. Of all colours in western society pink is...



Facing the Faces: the Facebook Self-portraits of Adamo Macri
Kenneth Radu - 2011
Self-portraiture and painting are almost synonymous. Albrecht Durer, Hans Holbein the Younger, Titian, Artemisia Gentileschi, Rembrandt, Elisabeth-Louise Vigée-Le Brun, Francisco Goya, Mary Cassatt, Paul Cézanne, Edvard Munch, Emily Carr, Frida Kahlo, a legion of others: the walls of...



Cellular Excitement: An Appreciation of the Art of Adamo Macri
Kenneth Radu - 2010
In many of his drawings, photos, constructions and other pieces of art, Adamo Macri depicts various forms existing beneath the visible surfaces of the world, and the reality of secret miniscule life teeming in obscure places. He explores, or imagines, acts of creation from the...


Kenneth Radu is a Canadian writer. He was a shortlisted nominee for the Governor General's Award for English-language fiction at the 1988 Governor General's Awards for his short story collection The Cost of Living.
Novels | Short Stories | Poetry | Memoir