Paracosmic Lands is a public art commission by Capture Photography Festival and the City of Richmond Public Art. It consists of a series of four backlit panels installed at the Aberdeen skytrain station No.3 Road Art Column until June 2017.
The commission Paracosmic Lands is created using a photographic approach the artist developed during a residency on the Costa de la Luz in Spain. Using prisms and handmade lenses to mimic the idea of a crystalline vision, the resulting photographs deconstruct and combine elements populating the visible landscape. Paracosmic Lands, through its mysterious prismatic and illuminated images, invite passersby to consider how we understand the world that surrounds us and how it can never be fixed; it is in constant growth and transformation.
Staring at the Sun
HD video projection with surround sound, slingback canvas chairs. Projection vidéo HD avec son surround, chaises de canevas. 2016
We can never fully see the sun. The most constant object in our field of view, and that which indeed allows the very possibility of vision, is visually unobtainable.
How much of what we see is actual? How much is fabricated? Staring at the Sun poses these questions through an immersive experience in which we are asked to consider the visible spectrum. Here, color is both perceived and produced by the body and mind. What we see reflects at once the light of the rainbow and its negative. The limits between the tangible and the imagined collapse into a dizzied blur of color and invisibility.
::Thank you to the BC Arts Council for their generous support of this project.
photo documentation: Alana Riley
Staring at the Sun, installation view
At Joyce Yahouda Gallery, Montreal, April-May 2016
Lighted / Éclairée, 2016
Drawing printed on duratrans, metallic lightbox, 16" x 20"
The Fabric of your Reflection
Live view DSLR, LED projector, acrylic and wood plinth, found door. DSLR mode live view, projecteur LED, socle de acrylique et bois, porte trouvée.
"The Fabric of Your Reflection reconfigures an image of an object onto the same object in space, creating multiple membranes of film, time, and space. Overlapping and deconstructing the virtual and the real enhances ones awareness of shifting realities and perception through experimentation, drawing the viewer into a psychedelic unknown. The resulting moving-image-object becomes an existential exploration of the infinite void: a saturated, sensual, wondrous encounter that offers boundless potential."
-- Excerpted from the curatorial text 'Spectral Transmissions' by Kristina Fiedrich
:: Thank you to the BC Arts Council for their generous support of this project.
The Fabric of Your Reflection, 2016
Installation view at Gallery 295 in Vancouver for the three-person exhibition "Spectral Transmissions" curated by Kristina Fiedrich.
The Fabric of your Reflection
View of the setup process of the installation at Gallery 295 in Vancouver for the three-person exhibition "Spectral Transmissions" curated by Kristina Fiedrich.
Opening of the exhibition "Spectral Transmissions"
Opening of the exhibition "Spectral Transmissions"
Video installation: LED monitor, black velvet curtains. Installation vidéo: écran LED et rideaux de velours noir. 1920 x 1080
Although afterimages (or the impressions retained by the retina after exposure to light) form the basis for current theories of vision, this phenomenon still contains many unknowns. As far back as Goethe’s research on color perception, afterimages were seen as a crucial problem of visual perception: they provide undeniable proof of a deeply subjective experience of vision. To this day, they can be seen as key existentialist phenomena evidencing that reality, or the world we physically perceive, is not and can never be objective. With the work Afterimages, I set out to discover whether it would be possible to share our subjective experience of vision. Czech physician and biologist Jan Evangelista Purkinje attempted this in the early 1800s with drawing, but only through digital media and moving image can this interior vision be represented in an experiential way that comes close to how we see afterimages.
This work, created through blind drawings that are then animated, offer a record of my own afterimages. The viewer is offered the possibility to embody them as their own retinas retain the imagistic reproductions. In this way, the work provides a deep phenomenological experience where the viewer and artist share a subjective embodied experience of vision. Paradigms perhaps most important today with the advent of believable, simulated worlds, come into question: what are the eyes really perceiving, what is actually there?
Afterimage, video still, 2013.
After Image, c-print, 2013.
Any Day Now
Public art: billboard with optional 3D anaglyph glasses. Art public: panneau d'affichage avec lunettes 3D optionnelles. 20' x 10' / 6m x 3m. 2015
“Any Day Now” is an in-situ photographic installation presented as a public art billboard. Seeking to cause a momentary break in a passerby’s visual experience, the work uses recursive frames within frames, creating a spacial tunnelling effect. The French name for this is “mise en abyme”; translated literally to “put into the void.” By decontextualizing what the viewer expects of billboards, using the optical recursive void, and offering a stereoscopic 3D viewing potential, “Any Day Now” underlines connections between visual attention, wonder, and possibility.
Slide projection installation with anaglyph slides and glasses. Also available as a viewmaster and reel. Installation de diapositives stéréoscopique. 2014
This installation reveals scenes constructed from photographs of the artist's 2013 journey across the North American West coast. The images' 3-dimensionality offers an immersive or hyperreal viewpoint, while concurrently pointing to zones of impossibility. Though the anaglyph glasses offer an invitation to interaction, the viewer's vantagepoint is beholden to the apparatus which changes images at its own randomized speed. The act of looking is complicated by rapid impressions of information and significant pauses or gaps of bright light, recalling the impossibility of an unmediated view of reality through fallible senses and modes of interpretation.
Installation view at Joyce Yahouda Gallery for the exhibition "Sight Shifting", 2014
Detail view of the installation slides
Detail view of the installation with anaglyph glasses
Viewfinder iteration of the work
Detail of the viewfinder reel
Perceptual Moment #8
Interactive moving image installation: 3:14 minute video loop, pure data patcher, mac mini, projector. 2012
Perceptual Moment #8 is an interactive installation using Pure Data and cameras as sensors. Considering Gilles Deleuze's writings on the moving image and Maurice Merleau-Ponty’s Phenomenology of Perception, I examine how the embodied viewing experience of digital moving-images compares to visual perception of the physical world to deconstruct ideologies delineating conscious experience from the imaginary.
My approach consists of deconstructive or decoding processes: isolating, stimulating and analyzing perception’s incongruities by using viewing obstructions and context extraction. I place particular emphasis on wonderment as an agent for audience engagement and affect. Formally speaking, the work visually consists of uncanny non-narrative scenes floating in near stasis and recall perceptual apparatuses and associated mental phenomena.
Perceptual Moment #8B presents an ethereal scene of a figure slowly emerging from a surreal landscape and walking towards the viewer. Her movements are eventually slowed to such a point that the space left between her footsteps becomes an evocative and significant space for the viewer. The installation’s interactive component complicates its viewing and brings up the embodiment of perception. The viewers’ bodies are tracked within the gallery via webcam, and the sensorial data is transmitted back to the computer. If the viewer is standing still in order to view the video, the image slowly turns to generated “white noise.” White noise and the imaginary imagery it evokes can be situated as a device by which to investigate the eye’s relationship to consciousness. In certain flicker rates, as those controllable through generation, white noise has the capacity to bring the viewer’s own mental imagery to their line of sight, superimposed with reality. In order to fully access the video, the viewer must move in the gallery space, making the act of viewing more purposeful; subjectivity more tangible.
The Perceptual Moment series is an ongoing body of work presenting the artist’s research into visual perception. With the aim of shifting and complicating the viewer’s vision to question individual perspectives and the way we perceive the world, the works make use of optical illusions and neuroscience theories. These are explored pictorially through moving image, and its deconstructed components, such as video stills and digital collages. Perceptual Moments focuses on the moving image and its deconstructed components through the blending of new technologies and those from bygone eras, including stereoscopic viewers, slide projectors, interactive tablets, framed monitors and prints.
Perceptual Moment #8 - video still
Perceptual Moment #9
Moving image loop, projector, wood and velvet structure. Image en movement bouclée, projecteur, structure de bois et de tissus de velours. 2013.
The series Perceptual Moments explores and complicates perception, its associated mental phenomena, and seeks to uncover how vision relates to the construct of the world around us.
The works are displayed both as a series in individually framed monitors or independently on monitors or projections.
Moving image still
A close phenomenological encounter with a west coast redwood tree reveals its breathing and affective responses, or is it just our perception?
Auras - proof of concept
Where does the imagined end and the actual begin? How do some ways of knowing take precedence over others, and what is the intuitive anchored in? When these separations become unstable, the borderlines dissolve to reveal the world we think we know as something far more infinite.
A body is a body and its shadow is black or grey. Or is it?
First illustrated in ancient spiritual texts from Zoroastrianism to Christianity, auras or bodies of light were described as bright, saturated hues emanating from the body. Later, occultists posited that these halos contained different layers of color that could be read to reveal another’s mood or personality. The ability to see these colored lights depended both on the skills and attunedness of the perceiver and on the intensity of the energies projected by the perceived. In the art installation Aura, the body seemingly emits auras in all colors of the visible spectrum. The body, in interacting with what seems to be a white glowing prism, disperses all the colors of the rainbow in a moment of awe. A shadow is perhaps no longer but a shadow when perceived by another.