Some early works contain the seeds of future thinking and are thus worth remembering.


Hydro Poles Shadowing (after Muybridge), 2002 / 2010

Lightjet print on Ultramount, UV acrylic, wood frame. 10 x 62 inches (25 x 157cm) Edition of 5

In a humorous reference to the pioneering fast-motion photography of Eedweard Muybridge, Hydro Poles Shadowing is a sequence of eight photographs taken from the same spot every hour on the winter solstice (shortest day of the year). As the sun makes its way across the sky, the pole’s shadows “run” across the building, a simple indicator of the earth’s movement through space. This work can be seen as a precursor to the durational video Torture Box (145,071 kms in 1:21:03 @ 1676 kms/hr).


A Number of Plays in One Act, 2004 – 2006

Darkroom C-print on Dibond with clear UV protective laminate, custom colour maple frame. Each 31 x 31 inches (78 x 78cm). Edition of 1 + 1AP

Generally set within urban industrial and commercial spaces, these works are unplanned responses to specific sites, ephemeral sculptural performances, and subtly existential gestures. Created with the stipulations that the found materials be natural (loosely interpreted) and that only one element within a given scene be manipulated, the works attempt to find an ”equilibrium between spontaneity and design”. The resulting works are subtle and transitory, but available to anyone who finds themselves nearby at the time of execution. The only lasting traces are the photographs. Each frame is dyed a unique colour associated with one element within each work.


Collapse, 2004

Darkroom C-print on aluminum with protective UV laminate. Each 12.5 x 18.5 inches (31 x 31cm). Edition of 5 (each edition a suite of ten works)

Created at the Klondike Institute of Art and Culture (KIAC) Residency, 2004

In an effort to understand the world we live in, we employ systems of order and classification to help describe those subjects under scrutiny. These systems of order also work to describe ourselves through the types of classifications we establish. Our ordering codes by default reflect our biases towards that which we are applying order, and essentially define our value system. Foucault gives the example of a ’certain Chinese encyclopaedia’ which separates animals into a number of strange classifications such as “tame”, “embalmed”, or “that from a long way off look like flies”. His point in citing this taxonomy is to demonstrate, through the “exotic charm of another system of thought…the limitation of our own, the stark impossibility of thinking that”. Thus we come to recognize that the stability of our own systems of classification is not quite as solid as we might hope. Though in practice these systems govern our beliefs about the operating structures of the world, they are subject to collapse as new knowledge supersedes old. And so we may begin to see our ordering codes for what they are: attempts to control the universe we inhabit but ultimately fail to comprehend. And if that universe is a rural dump, with signs delineating small patches of order and containment, what of the landscape beyond? Can we not imagine that those very objects of refuse managed within the confines of the dump are almost certain to be found out there as well? And does their existence outside the lines of containment cause concern, or are we absolved of responsibility since our ordering codes cannot account for them?