No Fate is an exploratory exhibition by Brandon A. Dalmer and Colin Canary that surveys the mechanics of contemporary painting practice related to image mediation, systems, origin, and destiny.

Spawned from a multidisciplinary approach and presentation of their shared research and intrigue, and shaped through years of professional and personal dialogue, the exhibition functions both as a return to their foundational methodologies and as an attempt to expose the underlying processes.

Drawing from science fiction film (Notably Terminator 2: Judgment Day, a film the artists routinely revisit after late-night studio hangouts), pop culture, and personal narratives, the exhibition cultivates themes of fate, recursion, technological anxiety, and the boundary between human and artificial methods. No Fate gestures towards resistance against inevitability and obscurity while acknowledging the recursive cycles embedded within image production and artistic labour. 

Brandon A. Dalmer (b. 1984) questions how digital information is lost through the process of endless copying, transference, and manipulation as the artificial affects our perception over time.  Through the use of fabrication, generative processes and robotic assistance his painting practice aims to contextualize and elucidate the often unseen processes underlying our everyday lives. This also acts as a method of archive. His practice is open-source allowing others to expand upon it, granting a form of technological undeath. Dalmer recently completed their MFA at Concordia University, and has participated in a number of residencies and exhibitions across Canada and internationally. He currently lives and works in Tiohtiá:ke/Montréal.

Colin Canary (b. Halifax, NS) holds an MFA in Painting and Drawing from Concordia University and a BFA from NSCAD. His work has been exhibited at Concordia MFA Gallery, the Leonard & Bina Ellen Art Gallery, Art Mûr, and Karsh Masson. He currently lives and works in Montréal, QC. These works were exhibited in the 2016 exhibition, Ab Next, at the The Robert McLaughlin Gallery, curated by Linda Jansma and Simone Wharton