Allen Ball’s work has been grounded primarily in the practice of painting, interrogating the limits of its forms and extending the language of painting into an expanded field of inquiry. He has had a significant history in producing installation in non-traditional exhibition spaces and creating public artworks.
Recent projects include: Photography in a State of Exception (2011), he presented a solo exhibition of large-scale installation of his Canadian military photographic images at The Liu Institute for Global Issues at the University of British Columbia, Vancouver, Canada. Presenting a multi-media project stemming from research conducted as an embedded official Canadian War Artist with Canadian Forces Operation Calumet in the Sinai Peninsula in 2007; The Wordless Book and other deserts (2012), a series of paintings and large scale photographs that interrogate the associative power of colour through Baptist preacher Charles Haddon Spurgeon’s nonverbal evangelical device the Wordless Book; Sight Unseen (2013), site-specific, screen-based art installation at the Multicultural Centre Public Art Gallery, Stony Plain, Alberta. Combining both still and moving images, Sight Unseen interweaves subject/object, seeing/seen, active/passive through specific moments in art history to interrogate multiple, sometimes contradictory experience(s) of viewing art.
His collaborative works include, The German Autumn in Minor Spaces (2008), a photographic and screen-based collaboration with Dr. Kimberly Mair (Department of Sociology, University of Lethbridge). Consumption (2013), a mural co-created with Dr. WenJuan Huang as part of the his recent Scholar in Residence for Arts Research in Nanotechnology (SRARN), at the National Institute for Nanotechnology, University of Alberta, Alberta, Canada.
His work can be found in local, national and international, public and private collections.