Media installation with video, sound, prisms, 4 HD projectors / Installation médiatique avec vidéo, son, prismes et 4 projecteurs HD.
Second Sight reflects on the problematics of perception by taking the viewer on a road trip through the high desert, where the seen eventually breaks apart and the limits between physical reality, head trips and visions from beyond become blurred. Joshua Tree is seen through disused military optics or prisms, responding to an ancient theory claiming that we see the world as a result of minuscule crystals within our eyes. As military optics frame perspectives towards specific ends, so too might the eye and its crystalline components. The exhibition presents a video installation alongside sculptural holograms and sound.
Read Whitehot Magazine’s review: In the much-discussed opening to Simulacra and Simulation, Jean Baudrillard presents a reading of the Borges cartography fable, which concludes with “The desert of the real itself” . Briard plays on the punned ending: both a departure from the real and the only landscape that might host shreds of metaphysical beauty. Each waving, hazy Joshua tree demands a different attention dispersed between separated frames. Through cracked windows or torn sails on a road trip in the hot, high desert, the viewer begins their journey in seeing the natural world for what it is and isn’t. The exhibition leaves the lingering sensation of a psychedelic trip: with some feeling and few words. “Second Sight” briefly displaces the viewer from an uber-urban environment to one that is ancient and altered, natural and ephemeral, “no longer … of the Empire, but our own” — Cori Hutchinson
:: Premiered in New York City at AC Institute in 2019 with support from the British Columbia Arts Council and the Canada Council for the Arts.
Second Sight exhibition documentation
Staring at the Sun
HD video projection with surround sound, slingback canvas chairs. Projection vidéo HD avec son surround, chaises de canevas. 2016-2018
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.
:: Supported by the BC Arts Council Photo documentation: Alana Riley
Staring at the Sun - studio documentation
Staring at the Sun, installation view
Version I, at Joyce Yahouda Gallery, eponymous solo exhibition, 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
:: Supported by the BC Arts Council
The Fabric of Your Reflection, 2016
Installation view 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.
Installation of three parabolic mirror pairs and prisms inset in wall. 2017
Prisms seem to be extruding from holes in the wall. Upon closer inspection, by intervening with touch it becomes clear what appeared to be a physical prism was but an illusion. Ironically, because the illusion can be seen in the round in three dimensions, it is called the "real image".
Propos du néant
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. 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.
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?