My personal art practice and strategies of practice cover a number of mediums and I am very fond of experimenting with new medias and new materials. I consider this an important aspect of my art. My art practice includes multiple exhibitions in a number of media; video, installation, sculpture, multimedia, and painting. I have also worked in the movie and multimedia industries. These experiences have developed my skills and understanding of several disciplines and a variety of materials and methodologies. My current research concerns are with painting and digital media. The developing relationship between 'the traditional practices', including avant garde strategies, and the development of new palettes and forms of expression and representation.


Phillip McCrum has worked in the Vancouver arts community in the 1980’s and 1990’s in a variety of capacities; curator of the OR Gallery, 1987-1989. Co-editor of BOO Magazine, 1994-1996 and associate and board member of several Artist Run Centres. He has taught in a number of diverse communities from 1999-2004. These include a studio residency funded by the City of Hamburg City Art Council, teaching in the Fine Arts Department of the University of Lethbridge, a year of study at the University of Ulster, Belfast, Northern Ireland, and a year teaching at the Hangzhou University of Commerce, China, in the Postgraduate and Art and Design Departments.

The work of Phillip McCrum is as sceptical as it is humorous – which is to say it is both at the same time. Comedy in the classical sense is when comeone, unaware of the predicament, stumbles and falls; tragedy is when someone is conscious of their immanent collapse. humour is a more modern affect because the detached spectators that the classical forms require are unnecessary: the humourist is part of his or her audience and we all fall down. [...]

Throughout all of his projects McCrum has resisted the transparency of a "well-made object" because such a thing would suggest that the conflicts of representation had been resolved. And his idiosyncratic craft, like a punchline, breaks with conventional sense by instantaneously revealing the presumptions of convention. The son, gazing out the window, asks his father, "Why can't I go outside and play baseball like the rest of the kids?" His father grabs him by the scruff of the neck, pulls him back into his seat and yells, "Shut up and deal!"

— Stan Douglas, 2000