Everything held together (pour l’instant)


Exhibition of new work and works in progress, including photos, drawings, photo-drawings, transitional works, transitory works, reflective installations and photo installations, many of which changed, were added, or were destroyed throughout the course of the exhibition.

For more information and to watch a video made by José Garcia to accompany the exhibition, please visit the gallery website www.pfoac com



Steady Streams, Living Rooms

nylon monofilament, acetate, video loop in wood frame and table

Imagined paths of Harriet Tubman, Laura Secord and other local historical figures cross an ornate former sitting room, into which is built a webby sculpture. Bits of text cut from collaged book pages flutter moth-like amidst the web, while nearby 12-Mile Creek, a constant in local history, runs steadily in one direction and then the other, in an approximation of pages turning, in the video work 12 Mile.

Steady Streams, Living Rooms, Rodman Hall, St Catharines, Ontario (2010)
Anima, FOFA Gallery, Montreal (12 Mile) (2011)

Wild History

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

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)

Corona Borealis, 9-5

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);

my Darling

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)

Topographic Introspective

20 lambda prints on masonite (5 X 7 – 41 X 54 in / 13 x 18 – 10x x 137 cm) on painted wall with vinyl lettering

20 photographs are presented on a dark wall to mimic a natural history museum exhibition, complete with place names. The photographs are close-ups of my sagging postpartum belly; the place names, chosen by their similarity to my first name, are of sites around the world, and the named universe.

Uncanny, La Centrale Galerie Powerhouse, Montreal, QC, Canada (2002); curator: Christine Redfern
Corporel, Pierre-François Ouellette art contemporain, Montreal, QC, Canada (2011)
installation photos: Paul Litherland