Supernatural: Art, Technology and the Forest May to September 2018. Excited to be invited to show A Continuous Slow Movement (Drift Camera) at the Art Gallery of Greater Victoria! On view: May to September 2018 A link to the show,
Watch the video footage here The impermanent return: Photography, protected areas and the matter of Linnet Lake. This is a film still from Lake Linnet, in Waterton Lakes National Park. The film still shows a line in process by
I have been working on a collaborative project with Krista Caballero alongside invited artists Rebecca Clark, Hali Felt, Katie Hargrave, Sharon Mansur, Emily Nilsen, Ebony Rose. This week, we launch our traveling experimental installation along the contested boundaries of the
Pup tent camera obscuras. Two pup tents with knapsacks for solo trips: recovered vintage materials, darkout fabric, a set of simple lenses for close up and distant views. Tent footprint each 1.5 m x 2.1 m. Created for Imagine Our Parks, installations with selected participants in summer 2016.
Krista and I are writing about on our upcoming experiment over at Imagineourparks.org. In our first post, we write about how “The Perfect Moment” started as a tongue-in-cheek response to the US’s NEA/NPS call for applications, Imagine Your Parks. As
A digital composite print of International Boundary Survey 1874 (GM Dawson) “From the North Shore” and 2009 butterfly migration, with an academic reprint of the Anthropologica paper, ‘Life and Death in Waterton Lakes National Park’. Limited edition artist book 9×12″.
October 17, 2015 Reciprocity: the large camera and the studio wall looked at the relationship between analogue photography and the real. October 23, 2015 The Long Exposure: Duration, Meditation and the Un-archivable, brought a group of people to the studio to meditate together while exposing a 16×20″ negative of the studio wall. November 1, 2015 The Artist Studio: Disappearances and Reappearances looked at the lives of artist studios.
I’ve been working on developing a series of lecture-performances for the gallery. It’s made me interested in drawing a relationship between lectures and aesthetics. I’ve started asking my academic friends and colleagues about this under-discussed part of academic life: the
The online archive of the zine and documentation of Terminus: Archives, Ephemera and Electronic Art is now live. This workshop was organized by the Ethnographic Terminalia Collective in collaboration with Tarah Hogue and Glenn Alteen of the grunt gallery in Vancouver
562 fisgard: a 16 x 20 camera, wall peel, b&w contact prints