Mitch Robertson, Original Copy, Hoodoos Postcard, 2002/2003 Virtual Museum of Canada
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By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Hoodoos Postcard, the Postcard 'original' shows blue skies and an unpopulated landscape. On the right is the 'copy,' a photo of the same place, populated by tourists and a bleak sky. We rarely view tourist sites as shown in picture-perfect postcards.

Mitch Robertson, Original Copy, Hoodoos Postcard, 2002/2003   (212 KB)

Images in the Series: By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Washington Park, the Postcard 'original' shows a beautifully landscaped garden in the summer. On the right is the 'copy,' a photo of the same place in the Fall, showing a bleak scene, trees without lush leaves, green grass or manicured gardens.By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Hoodoos Postcard, the Postcard 'original' shows blue skies and an unpopulated landscape. On the right is the 'copy,' a photo of the same place, populated by tourists and a bleak sky. We rarely view tourist sites as shown in picture-perfect postcards.By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Elvis Postcard, the Postcard 'original' shows a symmetrical arrangement of flowers arranged around the gravestone. The lighting is even with no imperfections. On the right is the 'copy,' a photo of the same place, complete with flaws, with cast shadows, sunny spots and gifts strewn across in no orderly fashion.By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Parthenon Postcard, the Postcard 'original' shows a virtually unpopulated site, airbrushed and perfect. While on the right is the 'copy,' a photo taken from almost the same view-point, but this time populated by people moving items in and out of a Ryder Van, with cars in the foreground.By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Gastown Postcard, the Postcard 'original' shows a romanticized nighttime view of the street, lit up with lights and unpopulated. On the right is the 'copy,' a photo taken from almost the same view-point, but is a bleak, daytime view of a snowy, populated street.By juxtaposing an 'original' postcard with its 'copy,' the artist shows the over-simplicity of the representation of tourist sites. In Worlds Largest Dinosaur Postcard, the Postcard 'original' shows blue skies, clean cars and tourists enjoying their visit. On the right is the 'copy,' a photo taken from almost the same view-point, but with bleak skies.

In Original Copy, Robertson exhibits postcards he has purchased alongside postcard-like images he has taken of the same sites, to reveal the single-sidedness of the images represented therein. Robertson's choice of sites plays an important role, lending both gravity and levity to the project, portraying the postcard image of the World's Largest Dinosaur in Drumheller, Alberta alongside the Parthenon.

Mitch Robertson was born in Woodstock, ON in 1974. A conceptual artist, he has been showing his work since 1998 and is currently based in Toronto.


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