Amber Falls
May 2022, Kikospace, Toronto

There was a picnic on its surface, this pearl, this magic skin, this mystical shell, this gleaming amber moon. Day poured into night, light into darkness, labour into pleasure. Wine glasses left rings. Salad dressing splashex. Someone spilled the salt. They had worked too hard. Walked too far, too fast. Feeling spacey, bodies shifted position and for an hour or an age everything changed. Carefully, they took off habits, put down jobs, moved beyond limits of analysis, crossed distances of difference. And together, they fell—curious, in dazzling arrays of particles, bursts, clusters. Chimes rang on the wind. 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 + cooper 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 “The Resident” which will subsequently be reprinted in the inaugeral issue of the “The Mercury”.

image credit: Alison Potsma
production support: Claudia Rick



Terms of Endearment
w/ Katie Lyle, curated by Lillian O’Brien Davis
Winter 2021, Support, London On.

This exhibition, hosted by our good friends at Support (Tegan Moore, Liza Eurich, and Ruth Skinner), marks the final iteration of a three-part series that began with Greener than Grass in the fall of 2020 at Susan Hobbs Gallery in Toronto and continued with Dancing with Tantalus at the School of Art Gallery, University of Manitoba in Winnipeg in Spring 2021.

To culminate our collaboration, I designed a riso-publication for Support’s Materials series that pulls together associated texts written by Lillian, Simon Fuh, Nic Wilson, and Jillian Groening alongside a variety of, well, other materials.

Download PDF




Dancing with Tantalus
w/ Katie Lyle and Gabrielle L'Hirondelle Hill, curated by Lillian O’Brien Davis
Winter-Spring 2020, School of Art Gallery, University of Manitoba

Consider the Greek myth of Tantalus, who stole ambrosia, nectar, and the gods’ secrets of immortality for his people. As punishment for his crime, Tantalus was made to stand in a clear pool where water receded before he could drink, underneath trees laden with fruit that forever escaped his grasp. Touching leaves traces, often more lasting than originally imagined, but the absence of touch builds both anticipation and desire.

Dancing with Tantalus engages qualities of contact—between people, surfaces, and objects—to examine haptic intimacy and explore the causal relationship between artworks and the many structures that make contact with them—physically, intellectually, emotionally, institutionally, and historically.

My works in the exhibition expand upon the ongoing “_~form_” series to a selection of throw pillows and blankets  (dream~forms_idle) and copper sheets (space~forms_currency).

Further Reading:
Clean Hands, Lillian’s exhibition text.
Crossing A Threshold: Tantalus’ Second Crime, nic wilson

*This exhibition develops from Greener than Grass at Susan Hobbs Gallery in 2020.









Greener than Grass
w/ Katie Lyle, curated by Lillian O’Brien Davis
Fall 2020, Susan Hobbs Gallery, Toronto

This two-person exhibition engages qualities of contact—between people, surfaces, and objects—to examine haptic intimacy and explore the causal relationship between artworks and the many structures that make contact with them (physically, intellectually, emotionally, institutionally, historically). Over two-years, Lillian curated the project through a series of collaborative conversations orbiting around desire and reverberations of touch in its various manifestations.

My sculptural works expand upon the ongoing “_~form_” series to include castings of my basement’s uneven concrete floor (site~forms_foundation); a selection of throw pillows and blankets as markers of cessation (dream~forms_idle); and copper sheets that record impressions developed during transient gatherings of many entities (space~forms_currency). Each finds temporary support through various found materials.

A subsequent iteration of the collaboration entitled, Dancing with Tantalus will include work by Gabrielle L'Hirondelle Hill and be presented at School of Art Gallery, Winnipeg from January - March 2021.

I would like to acknowledge funding support for this project from the Ontario Arts Council, an agency of the Government of Ontario.



Further Reading:
Stranger Within, Lillian’s exhibition text.
FrameWork 11/20, a beautiful response by Simon Fuh.




Site~forms_Memorial for the Present is the Future of the Past
Winter 2020, Gales Gallery, York University