Infinite emulsion
Vegetal colour, cabbage, rose, nettle, sopped up, mopped up, dried on paper. A solar printed intuitive contact print with diverted compost and other waste.
Vegetal colour, cabbage, rose, nettle, sopped up, mopped up, dried on paper. A solar printed intuitive contact print with diverted compost and other waste.
Through the process of erasure, dispossession and construction that industrial forestry relies upon, forests are created as trees, logs and timber, harvested, moved into water, and transported to sort yards for processing.
Kate Hennessy and my exhibition Fugitives in the Archive at the Royal British Columbia Museum’s Pocket Gallery and Lightbox Gallery opened on Nov. 2 2018 and ran until January 1, 2019.
Becoming Anarchival This fall, Kate Hennessy and I are presenting our collaborative work at 881 Gallery in Vancouver. The work emerges from fieldwork around a defunded paleontology research centre in Tumbler Ridge, British Columbia. We…
Pup Tent Camera Obscura is a repurposed 1970s/80s McKinley A-frame tent modified to be completely dark inside and fitted with a set of simple lenses on one end. Inside the room the lens projects the world outside onto the walls of the room and onto hand-held paper.
A line in process by Jenaya Webb, an open water swimmer, anthropologist, and librarian, who I work with in parks and protected areas. This is experimental feminist praxis, fieldwork that prioritizes lake swimming as a way to explore the ‘thick description’ of embodied gestures, lines, abstraction in film and photography, the social life of rumours, and ‘swimmer’s itch’.
The Breath Camera is a wearable camera form about impermanence: camera bellows, viewing screen, and a 3 x 9 foot darkcloth mix the fleshy with the fleeting.