I am particularly aware of my position in this place as a settler; I am a visual artist and writer living in Sɨpekne’katik, one of the 7 districts in unceded Mi’kmaw Territory. I am an uninvited guest here & I work to honour my responsibilities to the land and all its inhabitants. There are many stories about this land and its inhabitants which leave out much more than they say, in the interests of forgetting the truth, maintaining the status quo, or denying responsibility for rectifying wrongs, many of which are ongoing. Those gaps and erasures do all peoples (and our other-than-human neighbours) a great disservice. My hope is that my work may, in some small way, contribute to discussions about truth-telling and privilege, the need for true conciliation, and a fundamental reestablishment of good relations between all of us (human and more-than-human) and the earth, water, and air that sustain us all.
I employ a variety of materials and media. This is a strategy that allows me to approach ideas from a number of vantage points, and select the most effective tool/method of working ... or at the very least, come at the same ideas from different angles, and see what conversations occur over time.
Where wall-based work deals with layers of narrative, history, and memory through the literal accretion and removal of materials, site-based installations take these ideas and situate them in physical space, and link the work in a variety of ways to location & place in space/time.
Different sorts of archives, and a way to explore the myriad connections between memory & objects & place.
My Methods:
Video + Sound + Site-Specific Installation + Sculpture + Assemblage + Printmaking
About my Work
I actively seek opportunities to work in ways that expose gaps in understanding: what’s left unsaid; edited or incomplete narratives; in-between states and places. These contingent and/or liminal positions house the potential for new meanings, for critique, for failure, for incorporating indeterminacy and process as inherent to the work itself.
My approach is rooted in the senses and the body in space, and is often site-responsive; I am interested in the ways in which humans negotiate identity and memory in relation to land/place, objects, and history. That we construct realties and identities for ourselves and others is a given, as is the constructed nature the various narratives of place and history within which our understanding is situated. Like all stories, what is left out is as important as what is chosen for inclusion. What is chosen (and what becomes ‘real’ and ‘true’) changes over time and depends on who is doing the telling, and why.
Professional Affiliations: Visual Arts Nova Scotia, CARFAC Maritimes, ARCAC, Eyelevel Artist-Run Centre, Copyright Visual Arts (Past Board Co-Chair), CARFAC National (Past Rep for Alberta, Past Member at Large).
CV HIGHLIGHTS
Solo & Collaborative Exhibitions
2025
"Channel Migration" 13-station Audiowalk. Open Ears Festival of Music & Sound 2025 Official Event (collab Geoff Martin)
2024
Macromareal, Harvest Gallery, Wolville NS
creek* (multipart project): Audio Walk (surface/tension, collab Geoff Martin), as part of Open Ears Festival of Music & Sound. Video projection (ripple(((day)))lighting), at Schneider Haus Museum. Video score for world premiere performance of creek*, composer Deborah Carruthers) as part of Open Ears Festival of Music & Sound.. Kitchener ON.
FLOW InterArts Matrix/Globe Studios Gallery, Kitchener ON (collab Deborah Carruthers), curated by Sheila McMath.
2022
40 Chains a Side. Tina Dolter Gallery, Rotary Arts Centre, Corner Brook NL. MFA Graduating Exhibition.
2020
Macromareal: a rising tide lifts all boats. SNAP Gallery, Edmonton AB. (collab Scott Smallwood)
2019
Boundary|Time|Surface. Art Gallery of St Albert. St. Albert AB.
Macromareal (redux). Diffuser Gallery, Emily Carr University of Art & Design. (collab Scott Smallwood)
2018
Macromareal: a rising tide lifts all boats. IAST 2018/Crossing Boundaries Symposium. University of Lethbridge AB. (collab Scott Smallwood)
Slippages. Video for performance of Graphic Score by UBC Student Orchestra. Chan Centre at UBC, Vancouver BC. (D. Carruthers, composer)
Slippages/Panelled. Video work. Chan Centre at UBC, Vancouver BC. (collab Deborah Carruthers, visualartist/composer)
Exhibitions: Selected Group
2025 Press. Harvest Gallery, Wolfville NS.
Women’s Work. Harvest Gallery, Wolfville NS.
2024 WhichCraft? Harvest Gallery, Wolfville, NS
Press. Harvest Gallery, Wolfville NS
2021 Unboxing. Shelf, Cambridgshire UK, Gudrun Filipska curator; Plasbodfa, Angelsey Wales, Julie Upmeyer curator; travelling exhibition, ongoing.
2020 Dyscorpia 2.1 (remote/online), Mariléne Oliver curator/coordinator https://www.dyscorpia.com/animated-digital
Gotta Minute Film Festival, public advertising screens/transit centres, Edmonton and Calgary.
2019 Capturing the Aura of the Already Said. Margaret Hart, curator. Zygote Gallery, Cleveland OH, USA. (collab. Deborah Carruthers; Slippages videos)
GET IN TOUCH
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I welcome inquiries about studio visits.
If you are interested in purchasing my work, please contact HARVEST GALLERY