Installation 2000-2009
ENVIROBOTIC GREENHOUSE, 2001
Site-specific installation, London, Ontario
The Envirobotic Greenhouse is an insulated steel framed structure, 10 feet high by 12 feet wide x 20 feet long (3.048 m x 3.6576 m x 6.096 m), comprised of 2 quadrilateral sides, floor, roof, back and a “window” of thermal-clear supported by a hexagonal lattice work of steel. The latticework, for this cold climate greenhouse, is constructed in a snowflake or stellar dendrite (dendrite meaning “tree-like’) pattern and thus extends the conceptual meaning of the work by referencing the way water crystallizes as it falls as snow. This basic shape also suggests the sun and its radiant energy. The structure stores heat from the sunlight that radiates through its south-facing window. Heat energy, stored in a water reservoir situated along the back wall of the structure, is released overnight to regulate the climate within the structure and will operate year round. This work will be situated outside the current economic model of commodity and consumption. It will be used in conjunction with community groups to grow food for food banks and homeless shelters. Mobile and modular, it will be possible to exhibit the work in various versions, at a number of venues, on public and private land, urban rooftops and, of course, at art galleries.
Site-specific installation, London, Ontario
The Envirobotic Greenhouse is an insulated steel framed structure, 10 feet high by 12 feet wide x 20 feet long (3.048 m x 3.6576 m x 6.096 m), comprised of 2 quadrilateral sides, floor, roof, back and a “window” of thermal-clear supported by a hexagonal lattice work of steel. The latticework, for this cold climate greenhouse, is constructed in a snowflake or stellar dendrite (dendrite meaning “tree-like’) pattern and thus extends the conceptual meaning of the work by referencing the way water crystallizes as it falls as snow. This basic shape also suggests the sun and its radiant energy. The structure stores heat from the sunlight that radiates through its south-facing window. Heat energy, stored in a water reservoir situated along the back wall of the structure, is released overnight to regulate the climate within the structure and will operate year round. This work will be situated outside the current economic model of commodity and consumption. It will be used in conjunction with community groups to grow food for food banks and homeless shelters. Mobile and modular, it will be possible to exhibit the work in various versions, at a number of venues, on public and private land, urban rooftops and, of course, at art galleries.
THE POLITICS OF TRADE AND TRASH, 2005
The Politics of Trade and Trash, mixed media, garbage, digital display, found computer, painted wall Pantone 290 U, statistic charts, map size 88” x 77”
This map of North America was fashioned from garbage collected from my Urban Archivist performance. The introduction of an “old” computer references a system of technological production and commodity exchange. In this case an “outdated” computer is tethered to a tiny display listing the items gathered. The graph and chart provided are a manifestation of data collection, forecasting trends and events from the downturn of the stock market to sales forecasts. They are inextricably tied to notions of progress and the “free” market. By the juxtaposition of the map, the graphs become suspect and open to question. My pursuit to determine the origin of waste was made manifest through the stringing together of various locations and origins of the waste packaging. This endeavor made obvious the futility of this type of inquiry. One can just glimpse the strings on the map as they spread out from Windsor to the locations identified on the product packaging labels.
The Politics of Trade and Trash, mixed media, garbage, digital display, found computer, painted wall Pantone 290 U, statistic charts, map size 88” x 77”
This map of North America was fashioned from garbage collected from my Urban Archivist performance. The introduction of an “old” computer references a system of technological production and commodity exchange. In this case an “outdated” computer is tethered to a tiny display listing the items gathered. The graph and chart provided are a manifestation of data collection, forecasting trends and events from the downturn of the stock market to sales forecasts. They are inextricably tied to notions of progress and the “free” market. By the juxtaposition of the map, the graphs become suspect and open to question. My pursuit to determine the origin of waste was made manifest through the stringing together of various locations and origins of the waste packaging. This endeavor made obvious the futility of this type of inquiry. One can just glimpse the strings on the map as they spread out from Windsor to the locations identified on the product packaging labels.
STRINGWAVE, 2009
Stringwave, office supplies, Aluminum, field recording, motor, mp3 player and amp.
Stingwave is a soundwork based on a field recording I did of waves coming into shore at Rondeau Provincial Park in Ontario. There are nine speakers that are connected through mechanical motion that set off nine different "moments" in the field recording. The sound travels from one speaker to the next giving the illusion of a wave moving from left to right. The idea was to translate mechanical motion into sound through circuits. Each arm has a pin at the end which connects to a clip when it is in an upright position. The track is about thirty minutes long. Each arm also controls a number of strings which also move as the arms rock back and forth. I wanted to find an alternative to the motion depicted in Favro's Synthetic Lake, which inspired me as a child - for me the illusion was not as important as the way motion may be translated and reconciled with a sonic recording.
Stringwave, office supplies, Aluminum, field recording, motor, mp3 player and amp.
Stingwave is a soundwork based on a field recording I did of waves coming into shore at Rondeau Provincial Park in Ontario. There are nine speakers that are connected through mechanical motion that set off nine different "moments" in the field recording. The sound travels from one speaker to the next giving the illusion of a wave moving from left to right. The idea was to translate mechanical motion into sound through circuits. Each arm has a pin at the end which connects to a clip when it is in an upright position. The track is about thirty minutes long. Each arm also controls a number of strings which also move as the arms rock back and forth. I wanted to find an alternative to the motion depicted in Favro's Synthetic Lake, which inspired me as a child - for me the illusion was not as important as the way motion may be translated and reconciled with a sonic recording.
