Untitled (invisible thread)

2003-2004
nylon thread, size varies

Fine nylon ( “invisible”) thread is looped in and out of itself into an apparent tangle and suspended in a daylit room. The room at first appears to be empty, the mass of lines being only perceptible from certain vantage points.

many things were left unsaid, Gairloch Gallery of Oakville Galleries, Oakville, Canada (2003)
Avancer dans le brouillard, Musée National des beaux-arts du Quebec, QC (2004
collection: Musée National des beaux-arts du Quebec, QC, 2005

many things were left unsaid

2003-2004
transparent vinyl lettering on white walls

The unspoken thoughts of characters in Virginia Woolf’s To the Lighthouse are produced in transparent vinyl and placed on white walls where the constantly shifting daylight makes them difficult to read, at times invisible. The installation was conceived for the lakeside Gairloch Gallery, a setting like the summer home in the novel. When adapted for the Musée du Québec, French translations by Marguerite de Youcenar were interspersed with the original English text.

many things were left unsaid, Gairloch Gallery of Oakville Galleries, Oakville, Canada (2003)
Avancer dans le brouillard, Musée National des beaux-arts du Québec, Québec, Canada (2004)
intrus/intruders (2008) Musée National des beaux-arts du Québec, Québec, Canada
collection: Musée National des beaux-arts du Québec, Québec, Canada, French and English version

Whatever they said had also this quality

2003
fans, timers, nylon thread, acetate discs: 112 x 47 x 83 in / 285 x 120 x 210 cm

Discs hand-cut from acetate are threaded between a ceiling support and domestic fans placed on the floor at the scale of a dining room table. The fans turn on and off to mimic the rushes and lulls of a conversation, lifting the discs along the threads where they flicker with reflected light in the day-lit room. Originally shown in the former dining room at Gairloch Gallery, Oakville, Ontario, as part of many things were left unsaid.

many things were left unsaid, Gairloch Gallery of Oakville Galleries, Oakville, ON, Canada (2003)
Soft Passages, Gairloch Gallery of Oakville Galleries, Oakville, ON, Canada (2005)
States of Materiality/ Etats de la matière (2008), Stewart Hall Gallery, Pointe-Claire, QC, Canada
Conversations with Light and Air, Two Rivers Gallery, Prince George, BC, Canada

Secret Visibility

2002
acetate discs, nylon threads; fans on timers

Discs hand-cut from acetate are attached to the gallery’s walls in an undulating mass. Household fans placed overhead turn on and off at different intervals, causing the discs to flicker and reflect whatever light passes into the unlit room from two passageways. The discs never move all at the same time and in some parts of the room are not visible when still.

Some day soon you’ll stop searching for meaning, Pierre-François Ouellette art contemporain, Montreal, Canada (2002); technical assistance: Simon Nakonechny
Sense, The Edmonton Art Gallery, Alberta, Canada (2004); curator: Catherine Crowston
photos: Paul Litherland & the artist

nothing between

1996
plaster, drywall, pine; steel light stands, 60-watt bulbs, electrical cable (size varies)

The wall is built floor to ceiling with a slight curve at one end and projects into the centre of the exhibition space. It has been built up with plaster “bumps” which are hollow in the back to accommodate light bulbs installed on specially built stands. The light bulbs heat the bumps as well as softly illuminating them through the opening at one end of the wall: they are the sole light source in the work.

nothing between, Galerie Optica, Montreal (1996); technician: Jack Stanley
Sense, Edmonton Art Gallery (2004); curator: Catherine Crowston
metalwork: Louis Barrette Métaux Ouvrés
photos: Paul Litherland