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Early works

2010–2016

Testimony of Echo

2010

Gallery view of Testimony of Echo: glass jars on white plinths at left, a wooden cupboard on the far wall, and three rows of framed drawings of hands along the right wall. Six framed photolithographs in two columns, each a loose drawing of hands in sepia on cream paper; the last sheet is blank, torn from the top. A glass jar on a plinth holding strips of gampi paper with handwritten text, with framed drawings of hands on the wall behind. Close view of translucent gampi strips carrying typed and handwritten lines. A pale wooden cupboard with its doors open, the interior fitted with rows of narrow slots, and a small shelf mounted beside it. Detail of the cupboard's wooden shelves holding small slides of microscopic prints.
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Testimony of Echo, 2010: Transcriptions, a series of photolithographs of drawings; Specimens: jars containing hand-written & typed text on gampi held in place with ballasts and sealed with paraffin, and Emergence, a wooden cupboard designed to hold lab slides of microscopic digital prints
Exhibitions
  • Testimony of Echo, Eleanor Winters Art Gallery, York University, Toronto, ON, Apr. 7–21, 2010
  • Testimony of Echo, Anna Leonowens Gallery, NSCAD University, Halifax, NS, Jan. 11–23, 2010

Human Natures

2012

Layered drawing on mylar: cartoon figures traced in fine line, tangled with snarling dogs and a wolf, in grey, pink and blue. Layered drawing on mylar: a line of small fawns traced across the sheet beneath a cluster of drawn flowers, in grey and blue.
Human Natures, drawings on mylar, 2012
Exhibitions
  • Unstable Natures, Latitude 53, Edmonton, AB, Mar. 2 – Apr. 7, 2012

Enlisted

2012

Graphite drawing of three dark dogs in motion, lightly sketched against an empty ground.
Graphite drawing of a dog standing upright, its form dissolving into the pale paper. Graphite drawing of a spotted dog lying on its side, head raised.
enlisted dogs III, and below, enlisted dogs I & IIgraphite on paper, 2012
Exhibitions
  • Drawn: 1st Annual Exhibition of Contemporary Drawing, Manifest Gallery, Cincinnati, OH, Apr. 16 – May 13, 2014
  • Fur Stories [ you are not wild enough for me ], FAB Gallery, University of Alberta, Edmonton, AB, Dec. 10, 2013 – Jan. 12, 2014
  • Awagami International Mini-Print Competition, Inbe Art Space, Yoshinogawa City, Tokushima, JP, Oct. 12 – Nov. 10, 2013

Fur Suite/Remnants

2012

Photopolymer etching in greys of a fur remnant, folded and tied. Two photopolymer etchings side by side: a round tuft of fur and a dark, diamond-shaped pelt fragment. Two photopolymer etchings side by side: flattened fur toys, one pale at its centre and dark at its edges, the other with dark, mottled fur.
Fur Suite, Remnants I: Tied. Photopolymer film etching & chine-collé, print size, 30” x 36”, image size 16” x 24”, 2012Fur Suite, Remnants, Tail, Wing, Seal Toy I, Seal Toy II. Photopolymer film etching & chine-collé. 24” x 16”, 2012
Exhibitions
  • Negative Exempla, La Vague Journal, 4th ed., curator and editor Jennifer Pilch, 2015
  • Fur Stories [ you are not wild enough for me ], FAB Gallery, University of Alberta, Edmonton, AB, Dec. 10, 2013 – Jan. 12, 2014
  • Prismatika: Illusions of the Universe, Steppes Gallery, Edmonton, AB, Oct. 26 – Dec. 7, 2013
  • Impact8 Printmaking Conference, Dundee, Scotland, Aug. 28 – Sept. 2, 2013
  • Biennale Internationale d’Estampe Contemporaine de Trois-Rivières (BIECTR), Trois-Rivières, QC, June 16 – Sept. 8, 2013
  • Mosty II, Edmonton School of Printmaking, SVK (Štátna vedecká knižnica), Banská Bystrica, Slovakia, Jan. 16 – Feb. 16, 2013
  • Lost Horizon, Manifest Gallery, Cincinnati, OH, Nov. 9 – Dec. 7, 2012
  • Cosmopolitan Animals, Institute of English Studies, Senate House, London, UK, Oct. 26–27, 2012
  • 30Love, Society for Northern Printmakers (SNAP), AB, Aug. 16–28, 2012
  • Walking on Walls, SNAP, Edmonton, AB, Apr. 27 – May 19, 2012
Installation view: five framed photopolymer etchings of fur remnants in a row on a lit gallery wall, with visitors looking at them.
Installation view, Biennale Internationale d’Estampe Contemporaine de Trois-Rivières (BIECTR), 2013

The Optics of Animal Love

2013

Three pale wooden boxes mounted on a white wall, each with a peep hole and a short wooden crank, lit from above. The view through a peep hole: faceted mirrors multiplying small figures and fur into a glowing, repeated interior.
The Optics of Animal Love, hand-cranked wooden boxes with peep hole and interactive faceted mirror technology, 2013
Exhibitions
  • Fur Stories [ you are not wild enough for me ], FAB Gallery, University of Alberta, Edmonton, AB, Dec. 10, 2013 – Jan. 12, 2014

Fur Poems

2013

A square of linen with a piece of brown fur edged in blue embroidery, and faint stitched words above it. Two canvases with strips of fur, pink stitched words reading yeah beauty yeah yeah, and plant forms in green thread.
fur poems: lap, lap, lap & yeah beauty yeah yeah, fur & embroidery on linen and canvas. Canvas size: approx. 34” x 28”, 2013
Exhibitions
  • Brain Storms: UAlberta Creates, Enterprise Square Galleries, Edmonton, AB, Sept. 25, 2015 – Jan. 23, 2016
  • Fieldwork: Artistic Research, Ethics & Academic Freedom, symposium and exhibition, AUArts/ACAD, Calgary, AB, Mar. 12–14, 2015
  • Strung Out & Undone, The Gallery at the Living Arts Centre, Toronto, ON, Nov. 1–30, 2014
  • Fur Stories [ you are not wild enough for me ], FAB Gallery, University of Alberta, Edmonton, AB, Dec. 10, 2013 – Jan. 12, 2014

An Archive of Beautiful Memories

2014–2016

A wooden post carrying a QR code stands among spruce trunks on a sunlit forest path in Point Pleasant Park. The installation poster: twenty-two QR codes in different colours under the title An Archive of Beautiful Memories.
An Archive of Beautiful Memories, interactive audio installation, Point Pleasant Park, Halifax, NS, August 2014–2016. Funded by the HRM Open Projects Program

The project began with memoirs written by my students in Introduction to Visual Culture at NSCAD University in 2011. Following a series of lectures on Elaine Scarry’s On Beauty and Being Just (1998), I invited students to write a memoir based on a memory of something beautiful. The installation placed twenty-two recorded memoirs throughout the park, accessible through QR codes. In response, designer Rebecca Hannon created a series of porcelain forms, exhibited in the park for the duration of the installation.