Physella Johnsoni, I am not sure how to know you, and I feel it presumptuous to think I could, or that it may even be desired. For whose benefit does this attentiveness emerge? I will remember the state you have put me in. Twisted up and trying to sort out the various versions of myself that I find in the characters of your ecosystem- the water, the mountain, the malacologist, the tourist, the train.
This Place 2016 - Excerpt
2015. Digital Animation. 6m 22s
LURES is a short animation, a construction for a kind of harnessed cloud gazing; an attempt to control the conditions for unpredictable interpretation. Small objects were made by hand, spontaneously, irrationally, out of the unassuming leftover materials of the studio: glue, paper, rubber, tape, metal, plastic, and wood. Small composite things made to scrutinize, to reflect on sustained concentration, distraction and daydreaming.
LURES 2015 - Excerpt
Open Seating, 2015
2015. Composited video. 4m 34s.
As each chair is approached, it rotates in synchronization with the camera, always back-facing, resisting being circled around. Tension emerges between the appearance of dispossession (as the subject is refused by the object under investigation) and the manner in which this appearance was constructed. The chairs are highly controlled objects that only appear to have their own autonomy, as designed by the subject.
Four nine-foot square semi-transparent screens form a cube that is open at the corners. A body is stationed in the center of this structure, and synchronized animations are projected onto the screens.
OFOFOF 2015 - Excerpt
Walking with worms, 2014
2014. Composited video. 5m 14s.
One night, I was walking with worms. My vision and movement became noticeable as I focused my attention on avoiding these living lines. My pace slowed until all movement was deliberate, understood. My left foot, my right leg, their positions as instances frozen in sequence. The process of one single step consumed my thoughts; I forgot my destination.
Walking With Worms is a looping video installation that visualizes the positions of worms along an undefined length of sidewalk. Over the five minute duration of the piece, the audio slowly recites the execution of a single step. This is contrasted with the urgent movement of the camera, which scans ahead compulsively with mechanical accuracy. The scale of the installation surrounds the viewer, which creates a sense a nearsightedness that mirrors the camera’s directed observation.
The viewer is left in a loop, retracing the same set of instructions. The work attempts to alleviate an obsession with uncertainty, by seizing a situation through careful analysis.
Documentation of the installation, and a small version of the video. Installed for Heat Wave (a series of three exhibitions installed outside the gallery in Sackville, New Brunswick, Canada). Hosted by Struts Gallery and supported by the Canada Council for the Arts.
Walking with Worms - Installation
Walking with Worms - Excerpt
Surface Scratch, 2014
2014. Composited video. 5m 13s.
The interpretation of movement into line allows for an unfamiliar language to be revealed. The video becomes a small gesture to listen, to provide a surface for inscription, and a means to read what these subjects have to say, even if the translation is incomprehensible.
Surface Scratches - Excerpt
For the Trees, 2013
2013. Composited video. 6m 40s.
For the Trees integrates live-action video with 3D computer models of trees situated in an out of focus forest. The camera/subject orbits around each tree with a shallow depth of field in an attempt to get close to and see these objects individually.
At the moment that the subject approaches the tree close enough for the image to be brought into focus the digital image from the hand-held video footage is replaced for a digital image taken by a computer camera in 3D software of the same tree as scanned as a 3D object. The image of the tree becomes a hollowed out version of itself when the viewer draws near.
For the Trees 2013 - Excerpt
Little Lake, 2012
2012. Book series. In process
For my participation in the residency Field Work, I visited all of the the twenty lakes in the Halifax Regional Municipality that were given the same title of "Little Lake" by the government of Nova Scotia.
I swam the perimeter of each lake, recording my swim path with GPS. I used these data points to structure writing for a series of books (one for each lake) that recalls my experience and memory of the swim. Like a kind of road-map, the reader follows my swim path, page by page, with the zoom level controlling the amount of words on each page.
Boxes for Rocks, 2012
2012. Cardboard, rocks, shelving unit. 45 rocks.
Part of this series was purchased by the Nova Scotia Art Bank.
Rocks are collected and scanned in 3D. Their geometry is reduced and unfolded into a flat net. This pattern is then laser cut and scored. The "box" is hand folded and glued shut to enclose the original rock. Boxes are made to fit the individual rocks as accurately as possible. Gaps in the boxes are left as evidence of a limitation in the process of digitizing and unfolding the geometry. The nomenclature of each rock is comprised of the percentage of completion (how fully it was enclosed) the date of collection, and place it was collected from.
A straight line is drawn, a coin is flipped, a die is rolled, and the line is broken into two. For Coastline, these simple rules constrained the generative process of the drawing. Within these limits the complexity of the edge grew as the progress slowed exponentially.