Untitled (New Balance) Composition No. 1
94" x 53" x 34" - paper, marker, and pins on two walls - 2019
A collection of folded paper on two walls. Each paper is held onto the wall by one small black pin. The rules of the work were to have one paper touch the other. There is small black writing on the red paper that says “Original”, which signifies the first holes that were poked into the paper to play around with the compositions. As this work moves forward in different spaces, a collection of new holes will be made in that paper. This is my trusty red paper. Where it goes, I go to install it; as a work of call and response. Over the course of its’ life I’m curious to see how resilient the paper will be after the wear and tear of each new composition.
alternative angle and details
dimensions vary - thread, invisible thread, rare-Earth magnets, and pins on two walls - 2019
dimensions vary - rare-Earth magnet, red gel, thread, pins on wall - 2019
dimensions vary - projection on two surfaces (wall and window) - 2019
A projection on two different surfaces that reads “EMPTY SPACE”. The “EMPTY” is flat on the wall, however the “SPACE” is projected on three difference surfaces simply by the illumination of the projector onto the surface. The “A” is flat to the frame of the window, the “SP-CE” is trapped in the window pane, and the lighter-white “SP-CE” is projected onto the building outside.
Untitled (Trapped Cinema)
dimensions vary - black paper, oil paint, pins, projection - 2019
This work was created in the dark. With an oversized black paper physically pushed into the corners of a wall. The bends, the rolls, and the pushed-in edges are held in place with a handful of tiny black pins. Tiny rips to the paper, white smudges from my hands, and scuffs from the paper falling off the wall would be visible in the light. This work would have been easy to install with a third-arm or two people, but the importance of the work comes from the conceptual idea of a one-person install.
There is no perfection in the placement, or the bends, or the rolls. There is nothing proper about its’ installation, but rather, the paper has been nailed on the wall to simply be, in it’s place. The text is a Surrealist cut-up poem, which bends with the curvatures of the paper.
Titles are their text - various sizes - projection - 2019
Untitled (Self Portrait)
39.5" x 53.5" x 12.75"
clear-lay film, colour gel, felt, pins, rare-Earth magnets, steel-hook mechanism, terraskin, thread - 2018
alternate angle and details
Untitled (Total Lure)
59" x 17.5" x 31" - invisible thread, clear-lay film, rare earth magnets, pins - 2018
It's a piece that is almost invisible to the space it occupies, Its' strung and pinned to a corner in the walls that creates a thin skeleton of invisible thread. A clear-lay film is draped over the thread – similar to a towel on a drying line – and is held in place with two small rare earth magnets, which show that there is 'something' in the space. Similar to the sheen of a fishing lure, there is the curiosity in the faint shimmer from the magnets, but also the shine from clear-lay film that creates a positive and reversed image of the viewer as one walks, and moves about the piece.
37" x 33" x 15.75" - paper, thread, and pins - 2018
39.5" x 84" x 14.5" - paper, thread, and pins - 2018
Shown at Gallery 330g, Saskatoon, SK - 2018
Untitled (Train Ride)
Dimensions vary - projection on wall - (3:14) - 2018
Untitled (Train Ride) is a video that is projected on two walls. It considers the difference in landscape from a fixed point of view; showing that the landscape changes not only from left to right, but also back and forth. In some cases, the video will look like its' moving into the middle of itself even though our mind knows that it is going one way.