π½π π¦π£ π¨ππ₯ππππ€ π π π₯ππ πππππ₯;
πΉππ₯π¨πππ ππ πππ ππ β πΉππππππ
the plumb, Toronto, Spring 2024
Organized by Erica Stocking, Ella Dawn McGeough, and Amanda Boulos, the exhibition unfolded over the space of both exhibition and event series to ask:
What forms (in their many forms) do beds make it possible to imagine? What grows from their fertile soil? What weird wanderings does a drowsy mind follow? What conventions undo themselves when lying prone, released from the vertical βIββthe upright standing I, the individual I, the restless I, the I who scans the horizon in search of somewhere else; when we are in a hammock, a burrow, a mat in the corner, some warm patch of grass, or soft sand, where we cannot be blown down by the storms of history because we are already hugging the earth, settled by gravityβs pull, dreaming the world into existence. What then? What thoughts? What emotions? What sensations and perceptions? What possibilities? What strange affinities nestle into and around us?
the plumb, Toronto, Spring 2024
Organized by Erica Stocking, Ella Dawn McGeough, and Amanda Boulos, the exhibition unfolded over the space of both exhibition and event series to ask:
What forms (in their many forms) do beds make it possible to imagine? What grows from their fertile soil? What weird wanderings does a drowsy mind follow? What conventions undo themselves when lying prone, released from the vertical βIββthe upright standing I, the individual I, the restless I, the I who scans the horizon in search of somewhere else; when we are in a hammock, a burrow, a mat in the corner, some warm patch of grass, or soft sand, where we cannot be blown down by the storms of history because we are already hugging the earth, settled by gravityβs pull, dreaming the world into existence. What then? What thoughts? What emotions? What sensations and perceptions? What possibilities? What strange affinities nestle into and around us?
Gales Gallery, York University, October 2023
This exhibition goes hand-on-hand with my doctoral project,
βWe Change Everything We Touch and Everything We
Touch Changes,β which assembles interconnected texts, quotations, graphic content,
and sculptural works to ask: what forms (in their many forms) do beds make it
possible to imagine? What grows from their fertile soil? What weird wanderings
does a drowsy mind follow? What does a tired and/or sick body deem important or
irrelevant? What conventions undo themselves when lying
prone, released from the vertical βIββthe upright standing I, the individual I,
the restless I, the I who scans the horizon in search of somewhere else; when
we are in a hammock, a burrow, a mat in the corner, some warm patch of grass,
or soft sand, where we cannot be blown down by the storms of history because we
are already hugging the earth, settled by gravityβs pull, dreaming the world
into existence. What then? What thoughts? What emotions? What sensations
and perceptions? What possibilities? What strange affinities nestle into and
around us?
*pdf: βIβm on Fireβ
*pdf: βIβm on Fireβ
The Witch_1942, 2019-2022
installation views from goodtime, The Plumb, Toronto (Fall 2022) and Tools βnβ Shit (Round 1, 2, 3) (2019-2022), Goodwater Gallery, Toronto
~14,600 pieces of grapevine charcoal made over the course of two-years in Goodwaterβs fireplace, drawing material for a lifetime. The work includes several tools necessary for production, installation, storage and a special edition Goodwater Mailer for the exhibition, goodtime.
I wrote a featured essat about goodwater/goodtime for Momus: Itβs All About Good Timing: Goodwater at the Plumb
production assistance: Melissa Bleecker and John Goodwin
installation views from goodtime, The Plumb, Toronto (Fall 2022) and Tools βnβ Shit (Round 1, 2, 3) (2019-2022), Goodwater Gallery, Toronto
~14,600 pieces of grapevine charcoal made over the course of two-years in Goodwaterβs fireplace, drawing material for a lifetime. The work includes several tools necessary for production, installation, storage and a special edition Goodwater Mailer for the exhibition, goodtime.
I wrote a featured essat about goodwater/goodtime for Momus: Itβs All About Good Timing: Goodwater at the Plumb
production assistance: Melissa Bleecker and John Goodwin
grape vine: Sandra Rechico, Callum Schuster, Amanda White
photo documentation: Alison Postma, Colin Miner, John Goodwin
The Future is Dark...I think
August 2022, La Datcha, Berlin
Following years of coorespondence and much delay, during the summer of 2022, Maggie Groat & I each held independant residencies at La Datcha working closely with Jessica Groome and the space itself, a Schrebergarten located in Volkspark Rehberge (Berlin Wedding).
La Datcha was transformed through a whirlwind of activity: sweeping, raking, weeding, watering, observing, playing, searching for spiders, renovating, gathering, assembling, watching, arriving, and making.
The culmination of our collaborative activities resulted in the exhibition The Future is Dark... I Think hosted by Project Space Festival Berlin.
I continued the β_~form_β series with site~form_willkommen, a goopy gate covered in salt dough mixed with, blackberry, plant material, banana, cane sugar, beer, Aperol, pinot noir, and Baba Jaga spirits; dream~form_Baba Jaga, a very long-lasting jute and beeswax candle; and several site~form_moon-milks, small conglomerate assortments of rocks painted with milk paint and moth bait, an all day slurp-fest for wasps and slugs.
ξοΈ exhibition poster & text
image credit: Colin Miner
August 2022, La Datcha, Berlin
Following years of coorespondence and much delay, during the summer of 2022, Maggie Groat & I each held independant residencies at La Datcha working closely with Jessica Groome and the space itself, a Schrebergarten located in Volkspark Rehberge (Berlin Wedding).
La Datcha was transformed through a whirlwind of activity: sweeping, raking, weeding, watering, observing, playing, searching for spiders, renovating, gathering, assembling, watching, arriving, and making.
The culmination of our collaborative activities resulted in the exhibition The Future is Dark... I Think hosted by Project Space Festival Berlin.
I continued the β_~form_β series with site~form_willkommen, a goopy gate covered in salt dough mixed with, blackberry, plant material, banana, cane sugar, beer, Aperol, pinot noir, and Baba Jaga spirits; dream~form_Baba Jaga, a very long-lasting jute and beeswax candle; and several site~form_moon-milks, small conglomerate assortments of rocks painted with milk paint and moth bait, an all day slurp-fest for wasps and slugs.
ξοΈ exhibition poster & text
image credit: Colin Miner
Amber Falls
May 2022, Kikospace, Toronto
There was a picnic on its surface, this pearl, a magic skin, this mystical shell, a gleaming amber moon. Day poured into night, light into darkness, labour into pleasure. Wine glasses left rings. Salad dressing splashed. Someone spilled the salt. They had worked too hard. Walked too far, too fast. Feeling spacey, bodies shifted position and for an hourβan ageβeverything changed. Carefully, they took off habits, put down jobs, moved beyond limits of analysis, crossed distances of difference. And together, fellβcurious, in dazzling arrays of particles, bursts, clusters. Chimes rang on the wind. Everyone asked, was that a moth or a butterfly?
...
This installation follows-up on the collaborative project, Bright Eyes with Stefana Fratila and Kiko Sounds, in which we created a 100 metre long sound bath + copper installation in the breezeway
outside the Art Gallery of York University for the summer months of 2019.Instead of an opening, DJs Crip Time, Cam Lee, Snail Space, and I hosted GUMMY UNIVERSE: TANGfastic Dance Party with yummy-gummy snacks c/o @spool_oven.
Manden Murphy contributed two articles on βThe Residentβ which will subsequently be reprinted in the upcoming, inaugeral issue of the βThe Mercuryβ.