Installation: plastic bags (7 X 9 in and 9 X 12 in); steel wire; nylon fishing line

Small plastic bags, each filled with a breath of air, are suspended by fine, coiled wires at head height. Holes made through gallery walls let in air, wind, dust, snow. The viewer may walk amidst the bags — they bob about and cling to hair and clothing, whispering around the ears.

Cumulous, Southern Alberta Art Gallery, Lethbridge, Alberta, Canada (2000); curator: Joan Stebbins
Breathing Room, Dunlop Art Gallery, Regina, Saskatchewan, Canada (2001); curator: Anthony Kiendl
Bonheur et simulacres, La Manif d’art 2, Ville Québec, Canada (2003); curator: Bernard Lamarche
Conversations with light and air, Two Rivers Gallery, Prince George, BC, Canada (2010); curator: George Harris
photos: Don Gill (courtesy SAAG)


glass, ,steel, bubblegum: 19 x 23.5 x 4 in / 50 X 60 X 10 cm

Evidence, Plein Sud, Longueuil, Québec (2000); curator: Hélène Poirier
25 artistes, 25 ans, Leonard and Bina Ellen Gallery, Montréal (2001)
metalwork: Louis Barrette Métaux Ouvrés
photos: Paul Litherland


nylon, steel, fans (length, each: 102-285 in / 260-750 cm )

Nine fabric tubes are connected to an air duct system so that they gently channel fresh air from outside the building into the “recycled” air of the gallery.

Evidence, Galerie Plein sud, Longueuil, Québec (2000); curator: Hélène Poirier
Blanc divers, Galerie Art Mûr, Montréal, Québec (2001)

Words take on a life of their own


Video projection: 9 minutes, looped; projected on suspended fabric 77.5 X 120 cm

The videotaped image of the breath of two people talking on a cold evening is projected onto fabric suspended intimately at the same height and scale as those watching it.

Evidence, Plein Sud, Montréal, Québec, Canada (2000)
Breathing Room, Dunlop Gallery, Regina (2001)
Learning to Live on the ground, Pierre-François Ouellette art contemporain, Montréal, Québec, Canada (2008)
video production: Paul Litherland (camera and lighting); Yudi Sewraj (editing)


Drycleaner bags, steel wire, fishing line, motorized pulley (dimensions vary)

Polyethylene sacks are attached to wire forms and suspended from the ceiling. Each is connected to a motorized pulley which yanks them rhythmically so that they jolt up, filling with air, then slowly deflate as they descend.

Between Body and Soul, Leonard and Bina Ellen Gallery, Montréal (1998); curators David Liss and Karen Antaki
Space, Axe-NÉO-7, Hull, Quebec (1999)

Unititled (le mur qui respire/breathing wall)

cast rubber latex, acrylic; fans, timer: 118 x 177 x 6 in /300 X 450 X 15 cm
(remade 2010 in silicone)

A membrane of cast rubber latex swells almost imperceptibly in and out, in a mechanical semblance of breathing.  It mimics the surface of a wall with gyproc removed, its surface more like skin than paint. It is backlit in a softly lit room,  giving it a film-like presence. The sound of the fans inflating and deflating is at first calming, but its robotic persistence eventually becomes menacing.

Le mur qui respire, La Chambre blanche, Québec (1997); curator Lisanne Nadeau
Home Invasion, YYZ, Toronto (1997); curators Dai Skuse and Bernie Miller
Corps et sonorité, Musée de Rimouski, Québec (1998); curator: Carl Johnson
La Biennale de Montréal (1998); curator: Claude Gosselin
Conversations with Light and Air, Two Rivers Gallery (2010);
curator: George Harris; technician Ken Turner

production assistance: Louis Barrette, Lalie Douglas (2010 silicone version)


rubber latex, acrylic, plywood, lights, fans, timers, 96 X 96 X 10 in / 244 x 244 x 25 cm

Three larger-than-human size forms lie on a wooden platform. Each inflates and deflates at 3-10 second intervals, gently rising and falling as though breathing. The rhythmic sound of the fans emphasizes the overall sensation of sleep. Each is lit from below. Low ambient lighting combined with the inflating movement can cause the illusion that they are nestled into the platform, or that the platform itself is moving.

De Fougue et de passion, Musée d’art contemporain, Montréal (1997); curator Réal Lussier
Four Views, Owens Art Gallery, Sackville, New Brunswick (1998); curator: Sandra Margolian
Le corps et sonorité, Musée de Rimouski, Quebec (1999); curator: Carl Johnson
Pierre-François Ouellette art contemporain at Salon du Printemps de Montréal (2002)
États de la matière, Stewart Hall Gallery, Pointe-Claire, Quebec (2008); curator: Joyce Millar
woodwork: Reynald Legault (Bois Atout)
photos: Paul Litherland

over + fluff

3000 plastic bags; steel wire; 4 photographs, each 21 X 24 in / 53 x 60 cm

The installation is composed of two works which complement each other: over is made up of plastic grocery bags massed just overhead, across the entire gallery space. Each is filled with air, tied, and suspended with a coiled steel wire. They are lit only by the lights which illuminate fluff, a group of four photographs.

over + fluff, Galerie articule, Montreal, 1997
(fluff, collection Musée d’art contemporain de Montréal, exhibited 1999, 2001)
installation photos: Paul Litherland

Untitled (wasted breath)

Balloons, dental floss, motorized ceiling bracket; 72 X 18 in / 182 x 45 cm (size varies)

This accumulation of partially-deflated balloons is activated by a motorized ceiling bracket which makes the whole thing jiggle rhythmically back and forth, emulating a sensual dancing motion.

Corps et empreinte, Galerie Samuel Lallouz, Montréal (1996)
Galerie Samuel Lallouz at ARCO, Madrid (1997)
motorized ceiling bracket: Louis Barrette Métaux Ouvrés
photos: Paul Litherland

Untitled (la chambre)

Packing tape, sticky side out: approx. 84 X 84 X 96 in / 214 x 214 x 244 cm

Winding tape around my hand, sticky side out, adding rolls continually at the end of each, an ever-longer tube forms, sticking to itself as it piles up. When touched, it sticks momentarily to the toucher’s finger and the whole thing bobs around, jelly-like.

résider (apartment exhibition with Annie Martin, Carmen Ruschiensky and Andrea Szilasi) Montreal (1995)
Remettre ça, Galérie B312, Montréal (2001)
photos: Paul Litherland