Wild History

2009
nylon monofilament, steel, acetate, clear elastic thread, video loop

A “bear” of fine monofilament emerges from threads demarcating Ursa Major. Hundreds of other lines, in elastic thread, mark the constellation’s path across the space as it would appear every thousand years over the site. Collections of historical first-person accounts relating to the region are suspended in dark insect-like clouds at either side of the space. A video on a small screen captures the eye: a spider at work turns out to be the artist’s hands building the “bear” threads.

Wild History, MacLaren Art Gallery, Barrie, Ontario (2009)
Apprivoiser l’espace, Circa, Montreal, Quebec (2013)

 

here within our curving spaces

2008
nylon monofilament, elastic thread, fans (Cygnus, 9 hours: 144 x 196 x 72 in / 360 x 480 x 180 cm)

In the entry room to the exhibition, elastic threads are stretched horizontally between walls to bounce in a watery shimmer, while marking the former path of the adjacent West Don River. In the adjacent room, a nine-hour orbital pattern of the constellation Cygnus forms a structure of lines into which a swan-like flock is built from fine monofilament. It is placed in relation to the constellation’s position during the summer exhibition.

A flipbook records hourly maps of the night sky faced with aerial photos showing the river’s gradually altered path. Entirely daylit, the artwork’s visiblity changes depending on the time of day and cloud cover, gradually disappearing at sundown.

here within our curving spaces, Koffler Gallery, Toronto (2008)

Learning to live on the ground (Somewhere behind my heart)

2008
nylon monofilament, steel: 95 x 106 x 142 in / 240 x 270 x 360 cm

A network of monofilament is made by marking the points between pores on an enlarged photo of the artist’s back. Positioned over a map of stars situated overhead during the exhibition it forms a structure of lines into which fine thread is worked. A vaulted architecture of cellular layers emerges, attached to the floor by steel weights which mark the star points. Between the vertical lines/pores are spaces large enough to stand in.

Learning to live on the ground, Pierre-François Ouellette art contemporain, Montreal (2008)
Circling the Inverse Square, Kitchener-Waterloo Art Gallery, Kitchener, Ontario (2013)

Corona Borealis, 9-5

2008
nylon monofilament, plastic lenses

The constellation Corona Borealis is mapped out as it would be positioned over the gallery from 9-5, February 29 (during the exhibition). The resulting pattern forms the structure for a hand-looped net of fine monofilament which mimics the windowless brick wall of the Mississauga City Hall council chambers, visible through the window.

Corona Borealis, 9-5, Art Gallery of Mississauga (2008);

Imaginary Range

2007
nylon monofilament, 210 x 750 x 900 cm

A hand-crocheted web of fine monofilament is suspended overhead to follow imagined “thought pathways” between a room’s entries. Not visible from all vantage points, its mass (18 km of thread) testifies to distances traveled in touch and daydream while making it.

De-con-structions, National Gallery of Canada /Musée des beaux-arts du Canada, Ottawa (collection, 2007)

my Darling

2006
nylon and elastic thread, plastic magnifying lenses, acetate, plasticene, water

Clear elastic threads hang ceiling to floor and slip around the body as one passes between them. Lenses suspended overhead refract sunlight in wandering spots, on cloudy days spot-illuminating the shadows. Pools of water seem to grow out of the floor, reflecting more light. Flickering lights turn out to be strips of acetate attached to some threads and printed with names belonging to those who once passed near the foundry site, such as Jeanne Mance, Kondiaronk, Petite Rivière St-Pierre…  An artist book locates the site on historical maps along with possible routes taken at the time by those now lost.

my Darling, The Darling Foundry, Montreal (2006)

a continuous thread

2005
nylon monofilament, 126 x 60 x 60 in / 315 x 150 x 150 cm

An arms-reach sized semi-circle of monofilament lines supports nearly ten kilometres of finer thread looped back and forth to form a human-scale space.

connective tissue, Pierre-François Ouellette art contemporain, Montreal (2005)

 

there’s a place on my back that isn’t there

2005
nylon stretch cord, steel cables, plywood and steel mounting structure: 126 x 60 x 84 in / 315 x 150 x 210 cm

Elastic cord is woven between steel cables, creating a space large enough for a person to enter and be supported, leaning into the webbed threads. The cables trace a “constellation” of skin on the artist’s back. [See Out here in space, 2005.]

connective tissue, Pierre-François Ouellette art contemporain, Montréal (2005)
Search for Parallax (based on a constellation related to gallery site), Leo Kamen Gallery, Toronto (2008)

Out Here in Space

2005
6 lambda prints on aluminum, 16 x 20 in to 26 x 48 in / 40 x 50 cm to 90 x 120 cm

Treated as negative film in an otherwise film-less process, the skin of the artist’s back takes on the transparency of endless distance.

Out Here in Space, Leo Kamen Gallery, Toronto, Canada (2005)
Circling the Inverse Square, Kitchener-Waterloo Art Gallery, Kitchener, Ontario (2013; Curator: Shannon Anderson)

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