Dave Dyment


Based in Toronto, Canada, Dave Dyment is best known for his sound installation work, although he also works in multiples and photography. Dave has had a number of solo exhibitions, and his work has been displayed all over the world from Bulgaria to Ireland, London, Canada and the USA. Dave’s unique proposal is inspired by his interest in the collapsing of time and the notion of artists planning a work which will not be complete until their lifetime has passed.

“I can't think of a better way to spend three months than surrounded by castles and cows and clean meadow air and lots and lots of whisky. In order to accept this residency I had to leave a job I enjoyed a lot, but I have never harboured the slightest regret. A sustained period of time to focus on ones work is hard to come by, and peaceful place to do so in, even more so. The Glenfiddich program provides everything one would need: airfare, a beautiful place to stay, a salary, and a generous production budget. Their staff (Andy Fairgrieve in particular, but literally everyone) were incredibly accommodating of my unusual requests, and their hospitality was overwhelming. My project (the burial of a barrel of whisky for one hundred years) required the expertise of a wide-range of Distillery staff, all of whom gave up their time without reservation. I consider the project a collaboration, and am honoured to have been given the opportunity to work alongside them.“ Dave Dyment, September 08

In order to avoid evaporation of the spirit over the next 100 years, the 500L second fill sherry butt full of new-make Glenfiddich spirit has been entombed in the ground at the Glenfiddich Distillery.

25 empty bottles are being sold at The Toronto International Art Fair for CAN$2,000 later this year. Buyers can pass on the bottle for the liquid to be redeemed in 100 years’ time when the cask is opened (T&Cs apply).

‘I wish to produce a barrel of one hundred year-old Scotch whisky which will reach maturation in 2108. The title of the work will be ‘A Drink to Us (When We’re Both Dead)’ – ‘us’ referring to both the artists and the buyer. The whisky itself will be the ultimate gift, a whisky that the buyer will never taste, but will pass on. Any logistical difficulties will be part of the piece, as will be all collaborations with staff, research etc. I will call upon the years of experience at the Distillery for suggestions. In this way, the work becomes relational, sculptural, research-based, durational and so on. It also continues a theme I have worked on for some years, which explores artist’s use of the commercial sale as a venue of artistic exploration.’ Dave Dyment, June 08

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