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"Installation"

Water Piece

The work consists of a series of images - a divining rod, a coiled rope emitting seagull cries, a young man floating in a life jacket, and a fountain - under the textual heading, "John's father was fountain of information". These images rotate around a central image: an adult male and child going out in the rain (with mother's approval, says the audio tape).

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Reactor Core

36 sealed Pyrex tubes each filled with unique species of seed such as carrots, beets, corn, wheat

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The Procession of the Aurora Borealis

An installation work in three units comprised of three carts of molded snow bearing gifts: a tree stripped bare, more snow and a sled with dream catchers made of chemical bottles, copper cylinders and a network of tubes and wires. Piles of green and pink crushed glass fill the bottom of each chemical bottle. The entire work is placed on wheels.

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Rosary

Work is displayed on the floor. The four, small, lead figures are intended to be self-portraits and arranged in the direction North, East, South and West.

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Toronto

A grassy field in Toronto, Ontario

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Mask

A folded, white business shirt monogrammed at the pocket with the image of a boy looking out behind a devil's mask, on a Plexiglas shelf.

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End Piece

A copy of The Winston Dictionary for Canadian Schools housed within a Plexiglas shelf. This work is the frontispiece from Mr. Caldwell.

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Good Boy

Various male athletes climbing, exercising, working out on parallel bars

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Carnevale 3.0

Life-size, double aluminum cut out of a young girl who moves through the gallery space on a robotic platform that senses body heat and temperature change. The robot's silhouette is based on a photograph of the artist as a young girl dressed in her puffy sleeves, baggy shorts, and bobby socks. Positioned between the two identical cutouts are a small video camera and a small video projector equipped with wireless technology, playback and storage capabilities. As visitors enter the gallery space, the young girl interacts with them by turning and moving toward them. At random intervals, the visitors' images and movements are captured onto video. These images are combined and overlaid with previously stored images and projected outward sometimes in focus and sometimes not. After several playbacks the computer either adds the new video record to memory or discards it.

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raze

30 hollow, cast-felt houses hung in a grid pattern which produce shadows on the floor below. They are suspended from the ceiling by fine thread so the houses appear to be resting on a virtual plane in space. Some houses are taller and some in various states of decay.

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raze

30 hollow, cast-felt houses hung in a grid pattern which produce shadows on the floor below. They are suspended from the ceiling by fine thread so the houses appear to be resting on a virtual plane in space. Some houses are taller and some in various states of decay.

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All Numbers Are Equal (Nesbitt Version)

A grid of numbers, one to nine. In each case, the numbers are cut to the left to make the surface area of each number equal. Hence, the more complex a number is the less of it is visible.

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Barbed Wire Connection

Installation piece which runs approximately 50 feet along a gallery wall and consists of three main components: the Christ Head, the car fender and the large tangle of the barbed wire with three wolf skulls. The Christ head is placed low, directly on the gallery floor and cut in half.

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Between Views

The installation consists of three, freestanding, wall-sized elements. The first is a two-sided, curved, black screen, each side displaying a different narrow black and white painted image of a deteriorating garden. There are also two gingham-covered walls.

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We Are Sorry

Sorry (Stephen Harper), Sorry (Kevin Rudd); Installation made up of two panels with excerpts from the 2008 landmark apologies to Aboriginal peoples by Prime Ministers Stephen Harper (Canada) and Kevin Rudd (Australia. Each apology is edited to just over 100 words and printed on two shades of pink approximating the complexions of each Prime Minister.

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