Dana Bentley, an influential Canadian artist, began his creative journey in the mid-1960s with formal training at the Kootenay School of Art in Nelson, B.C. His artistic pursuits extended to the Alberta College of Art in Calgary, where he received prestigious scholarships from the Government of Alberta between 1968 and 1971.

In the years spanning 1971 to 1977, Bentley embarked on a period of professional wandering, traversing Mexico, the USA, North Africa, Europe, and various wilderness and urban landscapes. This time served as a profound examination of cultures and systems in conflict, documented meticulously through drawings, photographs, and journals.

Transitioning into a phase of professional experimentation in the late 1970s, Bentley made Toronto his home base in 1977. Returning to painting, he explored large canvases and experimented with airbrush and industrial spray applications, emphasizing color and design in a figurative mode. This period also saw a resurgence of Bentley’s expressionist interests, including unique experiments such as “throw painting.”

The 1980s marked a significant chapter in Bentley’s artistic evolution. Large, loosely organized canvases became his chosen medium, leading to the completion of several series, each revolving around distinct expressionist themes. Bentley’s exploration of surface and texture began in 1983, introducing simple geometric shapes over organic figures and experimenting with cuts in the canvas.

In the 1980s, Bentley’s exhibitions, including the 1984 showcase at Mercer Union, revealed his innovative approach to art. Notably, he presented 12′ x 12′ unstretched tarpaulins featuring inner-sewn swatches of canvas with layered surfaces of lacquer and commercial paints. This period showcased Bentley’s commitment to experimental processes and his unique artistic vision.

The Rotting Series in the 1980s combined organic processes with extended surface exploration, reflecting Bentley’s aversion to art for art’s sake and dedication to experimental endeavors. His Extended Collages, exhibited at Macdonald Stewart Art Centre in 1987 and Pekao Gallery in 1997, incorporated found objects with painted materials, creating psychologically charged compositions.

Entering the 2000s, Bentley embraced the digital era, experimenting with computer-based art, painting, printmaking, and photography. With the advent of Photoshop, he found new avenues for image-making, viewing digital tools as exciting additions to his artistic repertoire.

Dana Bentley’s art embodies a rich tapestry of experimentation, expressionism, and a continuous embrace of evolving mediums, making him a distinctive and influential figure in the Canadian art scene.