Brain Terrains is an ongoing body of work that explores the interstitial domain of an elusive self - a liminal entity, a ghost that inhabits a gap somewhere between the human body and the planetary body. Brain Terrains is a quixotic visual expedition to chart the locus of this idea of self
TitleBrain Terrains, 2015 - ongoing
MediaArchival digital prints. Film and paper mounted on board; Backlit film in lightboxes.
Brain Terrains is an ongoing body of work that explores the idea of the interstitial self – a ghostly, liminal entity that inhabits a domain located somewhere between the public and private.
Our human bodies, our social fabric, our urban context, and our planet can be seen as hyper-objects – massively invisible. Brain Terrains seeks to explore the overlapping vernacular of these hidden geographies – our inner self and the external physical world we share, perceive, and inhabit.
By intricately combining medical imagery – CT scans, MRIs, x-rays – and satellite imagery from NASA’s Earth Observatory project (NASA-EO), Brain Terrains is an expedition into the landscapes of the self. Mash-ups of our human and planetary contexts using technologies and instrumentation that allow a visual engagement with these worlds to map an alternate image of the Anthropocene.
Tag Gallery, Los Angeles, CA - Honorable mention, 2018 California Open
Private collections, Vancouver, Toronto, Los Angeles, Malibu
Private collection, University of British Columbia
Private collection, THNK School of Creative Leadership
BIC Art Collection, McConnell Brain Imaging Centre, Montreal Neurological Institute, McGill University.
Between Reigns (Inter-Regnum). A 3D wall-mounted piece that plays with our relationship with maps and mental models of the world. A remapped map made of maps, Between Reigns (Inter-Regnum) proposes a borderless reconfigured world where anywhere is everywhere, and everywhere is somewhere else
MediaMap shards, insect pins, beads, string, canvas mounted foam-core, plywood
244 x 122 cms
This work questions our ideas of boundaries and division, and our unexamined sense of here and there. It reflects on what sense of place means in a globalized, increasingly inter-connected context.
The work is also an act of repatriation, returning a third dimension, lost in the cartographic representation of location - restoring solidity to the flattened depictions of place found in an atlas. These newly re-dimensioned and re-patriated map elements are the building blocks in a re-configured, re-integrated world map in which anywhere is everywhere.
Exhibition HistoryGLOBE 2016 Conference and Innovation Expo, Vancouver. Coco et Olive, Main Street, Vancouver, BC
ONE-OFF PRODUCT DESIGN
Relics is series of lighting objects derived from a research project. These prototypes were part of an exploration of an artisanal, semi-industrial production process for creating utilitarian poetic objects using discarded elements as the primary design material. An example of ‘Up-cycling’ before it had such a lovely name.
Product Concept, Design, Fabrication.
MediaAs designers, we work with our ideas from a blank slate as we conceive, invent and articulate the products that we live with. The life cycle of our design work is linear. It begins with raw materials that get fashioned and forged at our whim, and once consumed, it ends with the objects being discarded as they arrive at their ‘end of life’. However, this is not truly a complete cycle, so for this project, I imagined closing the gap and creating a life cycle loop within the design process itself.
Artist StatementBy replacing the initial raw material for the lamps with discarded parts and objects, I started at the end to begin the cycle anew. The intention of this exercise was not simply to craft new objects, but to demonstrate how end-of-life objects could be up-cycled through a mediated and semi-industrial process. With a conscious move away from the realm of handcraft, these one-off prototypes were designed and detailed with a serial production process in mind to create a class of semi industrial objects.
Exhibition HistoryThis series of objects was published in leading design periodicals and provoked engaging dialogue about the production cycle and the role of the designer. All the lamps were acquired into private collections.
SET DESIGN AND MOTION GRAPHICS
Marginalia:Re-Visioning Roy Kiyooka. An ethereal set, motion graphics and video projection for a performance work, celebrating the internationally acclaimed Canadian artist, Roy Kiyooka. The set and video projection enveloped performers and integrated the audience into the new-music piece. Winner of the 2008 Rio Tinto Alcan Performing Arts Award.
MediaRoy Kiyooka was an inspirational figure in the Canadian art scene. Awarded the Order of Canada, he was a painter, poet, performance artist, filmmaker and musician. Marginalia was a way of re-engaging with his work and ideas.
Artist StatementI took inspiration from Kiyooka’s work StoneDGloves, as well as his collection of photographs and poetry. I created a setting for the performance work by surrounding the ensemble in a landscape of stones and hung gloves. The audience interacted directly with the set. I also animated Kiyooka’s paintings and expanded on the stone/glove/poetry theme to create a feature-length video projection sequence.
Exhibition HistoryWinner of the 2008 Rio Tinto Alcan Performing Arts Award.
Cellular Landscapes. This series examines scenarios of subject and context. The works are maquettes of a scenographic opera, and they imagine an allegorical microscopic world of my own cellular existence. My relationship to my environment is boundaried – me and other. So, what is the nature of the relationship of my cells to their environment? If I am the environment of my own cells, then where is the boundary of me in that equation?
TitleCellular Landscapes. 2012
MediaMixed media, found objects, glass, plexiglass, wood.
This series of works imagines the allegorical microscopic world of a cellular existence, through a series of vignettes and shadow boxes. What is the nature of the relationship of a cell to its environment? What is the nature of the relationship of my cells to me? If i am both subject and field, then where is the me in the reduced scale of that equation - is it the cell? or the environment - the relationship itself?
In as much as i inhabit my environment, i am also the environment recursively inhabited by my own microscopic existence. At this scale what are the boundaries of the notion of a self? Cellular Landscapes engages with the recursive, mirror-like nature of these realms, and how they might relate to our notions of self and other in the interior 'space' of an imagined cellular existence.