Photography / Video Work

Approaches to Erg (2014/15)
10-minute video featuring high definition footage and a deep water sound recordings captured above selected shipwreck sites along a 40km stretch of Halifax Harbour and the Approaches. Surround sound composition sweeps gradually through the trajectory of recordings, and the dynamics of the work are informed by the history and geography of the harbour: suggesting periodic patterns of stability and instability, crisis and recovery, ebb and flow. Part of a body of work entitled Point Line Intersection: In and Around Urban Waters which examines the relationships between city dwellers and natural water systems. The work was designed for multi-channel surround sound, but a stereo version has been uploaded to this site for online playback. Listening through headphones is recommended.

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Evacuation Areas (2013-)
Photographs captured along a 40km stretch of Tokyo's Tamagawa River. Stretching from Tokyo Bay to the North-West edge of the municipality, the banks of the Tamagawa function as flood protection both literally and figuratively: a buffer zone between the intensity of Tokyo's socio-urban landscape, and the destructive potential of the river waters. Industrial stakeholders, citizens at leisure, and the homeless demographic intersect over these spaces. The series is part of a body of work entitled Point Line Intersection: In and Around Urban Waters which examines the relationships between city dwellers and natural water systems.

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Standing Waves (2009)
This collaboration with composer John Abram merges layered video footage of waves and wake patterns with heavily filtered white noise. The looping elements are arranged in a way that moves in and out of synchronization, creating cyclical yet constantly shifting patterns of order and disorder.

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Fractured Urban Space #1 (2008)
Part of the Tokyo City Spaces project. Video footage from the bustling Hachiko intersection is layered and treated in a way that references the patterns and colour palettes of the fracturing technique used to generate urban camouflage designs. The video is projected from behind a portable Japanese byobu or folding screen. The audio component features ambient street noise and a steady drone which fluctuates in pitch and intensity according to the proximity of foreground figures to camera lens.
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Fence Line #1 (2008)
Selected images from a series documenting various methods of fence line adornment in and around southern Alberta are mounted on blocks of cedar and installed along one side of a long corridor.
A follow-up to Cutting Corners (2007).
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Columbus' Dream (2007)
Part of the Tokyo City Spaces project. Video footage of late-night commuters returning home to the Tokyo suburbs is stitched together to form a series of continuous loops. These sequences are played through four vertically-oriented CRT monitors housed within a steel structure.
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Cutting Corners (2007)
Part of the Tokyo City Spaces project. Photographs of on-coming traffic mirrors present a distorted and disorienting view of the city. The nine images are mounted on a grid of angular modules painted in a hue of traffic cone orange.

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Urban Cross Sections (2007-2008)
Narrow strips from along the central axis of each photograph taken during a day's work on Tokyo City Spaces are arranged side by side in chronological order. The resulting composite becomes a dense field of information: an abstracted portrait of the visual fabric of the city as seen through the camera lens.

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Tokyo City Spaces (2007-2008)
Funding from the Roloff Beny Foundation provided an opportunity to return to Tokyo, where I had resided between 1998 and 2005, to undertake a photographic and media series exploring three central themes: density, decompression, and contradiction. In much of the imagery, there is a sense of wonder at observing an urban environment so difficult to contain within a comprehensive, interpretive framework. There is also a sense of uneasiness and alienation at paradoxically being an outsider amongst ample company in such close quarters.
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All Thumbs (2007)
Three prints depicting the healing process of a wound are mounted on blocks of pink fiberglass insulation. The composition and dimensions of the prints are based on the Golden Section and Fibonacci series.
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Photographs as Useful Objects (2007)
A series of images addressing the idea of sameness and difference, the aesthetics of function, and photography's supporting role in other modes of artistic production.

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Continuous Feed (2007)
Twelve mundane, daily activities are staged, recorded, and looped. These repeating patterns of activity are periodically interrupted by shifts in perspective and the gradual introduction of colour.

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Ballet Organique (2007)
Fernand Léger's Ballet Mechanique is the point of departure for this montage of time lapse footage featuring the melting of an ice sculpture constructed from castings made from rubber gloves.

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Beckett Tribute (2007)
Short video interpretation of a section from Samuel Beckett's Krapp's Last Tape.
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Composite Skins (2007)
Self-portraiture and an archeology of shifting creative affinities over a 10-year period. Images of key figures of personal influence are digitally layered and merged. These composites are then projected onto the torso of the artist and rephotographed. The resulting images are arranged vertically with the most recent composite placed at the top if the column.
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