|Weighting Light, 2015, Stereoscopic Video Installation, 5 min|
A stereoscopic projection of a figure that seemingly carries the weight of its own existence above its shoulders. Inspired in part by the art nouveau designer François-Rupert Carabin’s motif of women providing structural support in decorative furnishings, Weighting Light creates the illusion of the video’s content supporting the actual weight of the emitting technology. A CGI animation of a woman, standing as a mercurial caryatid, holds a shelf above her head, which supports the very source of her likeness, the projector itself. The projection aims outwards, towards a mirror that reflects the image back to the wall, producing the figure’s image.
|Installation Detail, 35 minute animation displayed on 20 MicroTiles|
Arms Reach depicts a haptic labyrinth, specifically created for a custom configuration displayed on Christie Digital MicroTiles. Pain, tactility, and thermoception are guides in this maze that can only be solved through touch, accompanied by a haunting score by musician Bry Webb.
Dredging a Wake activates video art, projections and sculptures in magically interactive ways. Norton’s immersive installation works challenge visual perception, asking viewers to suspend their disbelief via illusionary images that move and reflect in enigmatic ways.Precipice is a round room that visitors can enter to find a virtual office space, a projection of swirling water and swimmer circling the perimeter. The swimmer displaces the virtual objects in the room, sweeping them up in the flow of the water, inciting disorientation and synesthesia in the viewer. Doline is an arrangement of mechanical sculptures made from severed office fixtures that turn slowly in a darkened room, to the soundtrack of stories about dreams and the sensation of falling. Doldrums uses mirrors and a projector to experiment with 3D stereoscopic views and an infinite reflection of the viewer.
Les Poupées Russes is a two channel video installation that utilises a mise en abyme structure. On opposing sides of the gallery space are video projections of a film set. One side is the image of the subject from the point of view of the camera; the other projection is the equipment used on film set. Side one is the image of the subject from the point of view of the camera; the other is an image of the camera and camera person from the point of view of the subject. The subject is the artist sitting in a chair, waiting for “Action” to be called. Save the film equipment, there is no detail of the space. All subjects and objects inhabit a white void; there is no horizon, no foreground or background. The camera person, also played by the artist, traverses from one wall to the other (from one projection to the other) to adjust equipment. The footsteps are audible through surround sound. The simulated environment creates a virtual/psychological space within the gallery suggesting this ‘void’ inhabits the space of the viewer. There is a continuous zoom throughout the entirety of the loop: the zoom distances itself from the subject and the mirror and into the monitor’s feed. In one continuous shot, the loop is structured in a Mobius Strip, traversing from one projection to the other, timed to reflect each other as the loop overlaps. Action is never called.
Video Projection, Public installation and gallery version
ledge. The passage of time within the loop occurs in a fraction of our own, yet the sensation for the viewer is that it is somehow expanded, as this physical mantra of hesitation is seemingly infinite. The push/pull sensation of the these two realms, the actual compression of time and the psychological expansion of time, are punctuated by the occasional ‘doubling’ of the artist’s body. Version 2 is projected as a portrait, rather than landscape by turning the projector on its side. It should be projected slightly larger than actual size (to scale) and the bottom edge of the frame touches the ground level.
Confined to a small a box resembling a diary under lock and key, a squashed elephant pops out when released by the viewer, and slowly retains its original shape.
There are markers and pens within the school bag to draw and write in a sketchbook. As the exhibition travels, the schoolbag becomes full of memory and messages shared by the viewers.
A special project by Daisuke Takeya. Traditional Japanese school bags were transformed to mobile exhibition spaces. Over 30 Canadian artists made work for the modified school bags that children bring to public spaces to display the works in areas of Japan affected by the 2011 tsunami and earthquake.