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…
on most Wednesdays from 10am -12 pm, City of Victoria Artist in Residence Kemi Craig and I can be found at the Photodynamic Garden at Wark Street Commons located on unceded Lkwungen territory. We’re garden…
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.
Photodynamic Gardening. Making images with plants. Experimental ethnography. Leaves of stinging nettle, mashed up rose and bee balm petals, elderberry fruit.
A 15 minute film loop that brings together digital and analogue archives into projections and performances. Making and unmaking encounters, curved by gusting winds, the squeak of technological breakdown, and the distortion of projections on paper.
Anarchival materiality within archives is an ongoing research-creation project that documents the generative force of entropy in archives. The force of molecular transformation, violence, displacement, and other human and non-human agencies render archival materials as fugitives, both eluding and driving preservation.
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.
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’.
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.
