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562 Fisgard wall. Trudi Lynn Smith and Lynda Gammon. 12 - 16x20" contact photographs.

Trudi Lynn Smith

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562 Fisgard wall. Trudi Lynn Smith and Lynda Gammon. 12 - 16x20" contact photographs.
Trudi Lynn Smith

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  • A photograph of Trudi Lynn Smith and Kemi Craig's feet and a 4x5 view view camera pointed at the photodynamic garden

    Open air photography

    ByTrudi Lynn Smith July 12, 2024July 25, 2024

    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…

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  • An anthotype made with amaraynth emulsion poured on cream paper.

    Photodynamic Gardening Workshop

    ByTrudi Lynn Smith March 26, 2023August 14, 2023

    I’ve been invited to present a Photodynamic Gardening Workshop in June in the Hudson Valley, New York, at Bard College Farm and Studio Kipp in Rhinebeck. This two-day workshop will experiment with building community gardens…

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  • Documentation of a Drift Camera installed at the Art Gallery of Greater Victoria

    A continuous slow movement (drift camera)

    ByTrudi Lynn Smith September 21, 2019August 15, 2023

    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.

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  • still from the 15 minute video studies for the perfect moment by Trudi Lynn Smith and Krista Caballero

    Studies for Making and Unmaking

    ByTrudi Lynn Smith July 20, 2018August 15, 2023

    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.

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  • Kate Hennessy and Trudi Lynn Smith video showing anarchival materiality in archives

    Anarchival materiality

    ByTrudi Lynn Smith April 10, 2018August 15, 2023

    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.

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  • Swimming in Lake Linnet, Waterton Lakes National Park 2013

    Linnet Lake

    ByTrudi Lynn Smith September 26, 2017September 23, 2018

    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…

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  • Pup Tent Camera Obscura

    Pup Tent Camera Obscura

    ByTrudi Lynn Smith January 30, 2017August 14, 2023

    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.

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  • Conduit Open Space showing mirrors reflecting the skylight in Open Space Gallery 2011

    Conduit: Open Space

    ByTrudi Lynn Smith April 10, 2016March 4, 2023

    Using the central skylight in a gallery as a starting point, Jamie Drouin and I direct frequencies into the Open Space Arts Society space using simple lenses, mirrors and antennae. (2011-2013).

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  • film still by Jamie Drouin of Conduit Roundhouse

    Conduit

    ByTrudi Lynn Smith April 10, 2016March 4, 2023

    A modified swing-lens Kodak Panoram broken and rebuilt to reconsider the interface between time and space in photographic embodiments.

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  • detail images of exhibition finding aid by Trudi Lynn Smth

    Finding Aid

    ByTrudi Lynn Smith April 10, 2016March 4, 2023

    An ongoing performed archive and exhibitions (2009-) documenting the productive failure of re-enactments of photographs in mountain environments of Canadian National Parks.

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  • Becoming anarchival
  • Open air photography
  • Infinite emulsion
  • Photodynamic gardening project
  • social practice and somatic photography

I acknowledge with respect that I live on the territories of the lək̓ʷəŋən peoples and the Songhees, Esquimalt and W̱SÁNEĆ peoples whose historical relationships with the land continue to this day. I am an uninvited settler on these territories.

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