In an intricate juxtaposition of elements, Vancouver-based artist Ed Spence handcrafts “pixelized” images in his series Dataforms. For almost a decade Spence has painstakingly cut apart large photographs and prints of paintings, reassembling them into gorgeous and colorful hybrids. Whether utterly transformed or partially split in a captivating state of before and after, each collage remains somehow imbued with the emotive quality of its previous form. Bursting with vivid expression, Spence’s abstractions are a calculated process that includes dozens of sketches and lengthy planning. After cutting hundreds of one-inch squares by hand, the broken pieces are reassembled in ways both complex and compelling. It is the duality of opposites—analog vs. digital, representational vs. abstract, chaos vs. order—that makes Dataforms a truly fascinating body of work.