CCCA Canadian Art Database

Sharon Alward

Sharon Alward is a performance artist. Her works explore issues related to postmodern religious thought. Through her performances she invites her audiences to question dualistic thinking and to experience a bodily dimension of knowledge. Specifically, her research questions the metaphysical, moral and epistemological role of the contemporary artist through the use of ritual symbolism. Her interdisciplinary investigation into art and religious thought is focused on the performative body. Sharon Alward received her BA from the University of Winnipeg in 1975, her BFA from the University of Manitoba in 1983, and her MFA from the University of California at Los Angeles in 1985. In 1982 she received a Painting Fellowship to Yale University. Alward's spiritually based performances and video tapes have been exhibited in museums and site specific locations around the world. She has been nominated for an Art Pace Fellowship and a Blizzard award. Her video works have been exhibited by the American Film Institute and the Canadian National Screen Institute. The CCCA Winnipeg Artists Project was generously supported by the Winnipeg Foundation.
Creator Id: 16
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: Canada
Province of Birth: Manitoba
Year of Birth: 1954
City: Winnipeg
Country: Canada
Type of Creator: Artist
Gender: Female
Mediums: performance
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Work by Sharon Alward

Loves you so much it Hurts

Work ID: 79127

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79125

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79123

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79126

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79124

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79122

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Loves you so much it Hurts

Work ID: 79128

Description: Performance /Installation.
I locked myself in a pillory for nine days. The tableau consisted of 3 Plexiglas panels in front of the pillory with text and definitions for the terms: CRUCIFIXION, RESURRECTION, ERECTION and PILLORY. Behind the pillory was a 9 ft. x 7 ft. blinking neon work called Loves You So Much It Hurts.


Measurements: Plexi panels with text

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Work ID: 79133

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79136

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79140

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79138

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79134

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79130

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79137

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79132

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Work ID: 79135

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


Measurements: Performance/ Installation

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Work ID: 79129

Description: Commission by the Plug In Gallery to do a Performance/ Installation for ART OVER AIDS in November 1990. 5 gallons of blood and semen were pored on the floor of the gallery during a private ritual of mourning and the next several hours were spent cleaning up the spilled blood and semen.

TOTENTANZ evolved from the image of a world scale medieval theatre; a dance of death in its most tragic sense. AIDS has become a symbolic disease that has taken on apocalyptic dimensions. The ritual was performed in an attempt to reconcile my own ambivalent attitude towards AIDS. TOTENTANZ addresses the idea of personal responsibility and my own self-conscious attempt as an artist to confront the inadequacy of art in the face of death.


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Mutterwitz

Work ID: 79143

Description: MUTTERWITZ examines Foucault's warning of the danger in our visual drive to power and truth and acknowledges a bodily dimension of knowledge. In the performance/installation MUTTERWITZ I explored the idea of Kantian beauty that evolved from neo-Platonic ideals. MUTTERWITZ longs for the redemptive reconciliatory power of art in a world of suffering and violence.

I pulled myself around a 63 ft. track filled with 20 gallons of milk for one week. During the ongoing performance a continuous video loop recited secular philosophical debates of aesthetics through Kant's critique of beauty, and threaded within the debate are texts questioning Christian virtues of sacrifice.

This debate, beauty vs. moral responsibility, is at the root of my ambivalence as a contemporary artist. MUTTERWITZ was commissioned by the Manitoba Edge Project as part of the Edinburgh Festival. The video was curated by the American Film Institute in Los Angeles for their 1993 Video Festival.


Measurements: 2.1924 m wooden track contains 0.696 gallons of milk

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Mutterwitz

Work ID: 79144

Description: MUTTERWITZ examines Foucault's warning of the danger in our visual drive to power and truth and acknowledges a bodily dimension of knowledge. In the performance/installation MUTTERWITZ I explored the idea of Kantian beauty that evolved from neo-Platonic ideals. MUTTERWITZ longs for the redemptive reconciliatory power of art in a world of suffering and violence.

I pulled myself around a 63 ft. track filled with 20 gallons of milk for one week. During the ongoing performance a continuous video loop recited secular philosophical debates of aesthetics through Kant's critique of beauty, and threaded within the debate are texts questioning Christian virtues of sacrifice.

This debate, beauty vs. moral responsibility, is at the root of my ambivalence as a contemporary artist. MUTTERWITZ was commissioned by the Manitoba Edge Project as part of the Edinburgh Festival. The video was curated by the American Film Institute in Los Angeles for their 1993 Video Festival.


Measurements: 2.1924 m wooden track contains 0.696 gallons of milk

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Mutterwitz

Work ID: 79142

Description: MUTTERWITZ examines Foucault's warning of the danger in our visual drive to power and truth and acknowledges a bodily dimension of knowledge. In the performance/installation MUTTERWITZ I explored the idea of Kantian beauty that evolved from neo-Platonic ideals. MUTTERWITZ longs for the redemptive reconciliatory power of art in a world of suffering and violence.

I pulled myself around a 63 ft. track filled with 20 gallons of milk for one week. During the ongoing performance a continuous video loop recited secular philosophical debates of aesthetics through Kant's critique of beauty, and threaded within the debate are texts questioning Christian virtues of sacrifice.

This debate, beauty vs. moral responsibility, is at the root of my ambivalence as a contemporary artist. MUTTERWITZ was commissioned by the Manitoba Edge Project as part of the Edinburgh Festival. The video was curated by the American Film Institute in Los Angeles for their 1993 Video Festival.


Measurements: 2.1924 m wooden track contains 0.696 gallons of milk

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Mutterwitz

Work ID: 79141

Description: MUTTERWITZ examines Foucault's warning of the danger in our visual drive to power and truth and acknowledges a bodily dimension of knowledge. In the performance/installation MUTTERWITZ I explored the idea of Kantian beauty that evolved from neo-Platonic ideals. MUTTERWITZ longs for the redemptive reconciliatory power of art in a world of suffering and violence.

I pulled myself around a 63 ft. track filled with 20 gallons of milk for one week. During the ongoing performance a continuous video loop recited secular philosophical debates of aesthetics through Kant's critique of beauty, and threaded within the debate are texts questioning Christian virtues of sacrifice.

This debate, beauty vs. moral responsibility, is at the root of my ambivalence as a contemporary artist. MUTTERWITZ was commissioned by the Manitoba Edge Project as part of the Edinburgh Festival. The video was curated by the American Film Institute in Los Angeles for their 1993 Video Festival.


Measurements: 2.1924 m wooden track contains 0.696 gallons of milk

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Light Light

Work ID: 79145

Description: While Angels Sleep LIGHT / LIGHT PERFORMANCE
Commissioned as a part of the Light/ Light series jointly funded by Video Pool and Adhere and Deny. <br<
I rode a motorcycle (Harley Davidson Sportster) while wearing purple neon wings and dragging 12 crucifixes. Five video monitors, interspersed between burning barrels, played a continuous tape loop of my hand lighting a match and shaking out the flame during the performance.


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Light Light

Work ID: 79149

Description: While Angels Sleep LIGHT / LIGHT PERFORMANCE
Commissioned as a part of the Light/ Light series jointly funded by Video Pool and Adhere and Deny. <br<
I rode a motorcycle (Harley Davidson Sportster) while wearing purple neon wings and dragging 12 crucifixes. Five video monitors, interspersed between burning barrels, played a continuous tape loop of my hand lighting a match and shaking out the flame during the performance.


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Light Light

Work ID: 79147

Description: While Angels Sleep LIGHT / LIGHT PERFORMANCE
Commissioned as a part of the Light/ Light series jointly funded by Video Pool and Adhere and Deny. <br<
I rode a motorcycle (Harley Davidson Sportster) while wearing purple neon wings and dragging 12 crucifixes. Five video monitors, interspersed between burning barrels, played a continuous tape loop of my hand lighting a match and shaking out the flame during the performance.


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Light Light

Work ID: 79146

Description: While Angels Sleep LIGHT / LIGHT PERFORMANCE
Commissioned as a part of the Light/ Light series jointly funded by Video Pool and Adhere and Deny. <br<
I rode a motorcycle (Harley Davidson Sportster) while wearing purple neon wings and dragging 12 crucifixes. Five video monitors, interspersed between burning barrels, played a continuous tape loop of my hand lighting a match and shaking out the flame during the performance.


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Ugly but not Inferior

Work ID: 79156

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Ugly but not Inferior

Work ID: 79153

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Ugly but not Inferior

Work ID: 79150

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Ugly but not Inferior

Work ID: 79152

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Ugly but not Inferior

Work ID: 79154

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Contre Bande

Work ID: 79202

Description: In the performance/ video installation Contre Bande, each gender binds one to the other, speaking the language of the other; binding and counter-binding. Contre Bande-against the band. To band – to bind. Genet, a novelist and an admitted homosexual cites Tiresias: (who was noted for his bisexuality and his time spent as a woman as a punishment by the Gods for seeing snakes coupling) – "seven years in men's clothing, seven in women's. Because of his dual nature his femininity hounded his virility, both in play in such a way that he never had any rest, that is to say a fixed point on which to settle."

CONTRE BANDE is about the attempt to filter images through strict cultural hierarchies and reclaim the body as a spiritual container rather than as a social construct. First performed in the Dean’s Chamber of the University of Manitoba for the Institute of the Humanities. Part of the Ugly But Not Inferior trilogy performed at LACE in Los Angeles.


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Contre Bande

Work ID: 79200

Description: In the performance/ video installation Contre Bande, each gender binds one to the other, speaking the language of the other; binding and counter-binding. Contre Bande-against the band. To band – to bind. Genet, a novelist and an admitted homosexual cites Tiresias: (who was noted for his bisexuality and his time spent as a woman as a punishment by the Gods for seeing snakes coupling) – "seven years in men's clothing, seven in women's. Because of his dual nature his femininity hounded his virility, both in play in such a way that he never had any rest, that is to say a fixed point on which to settle."

CONTRE BANDE is about the attempt to filter images through strict cultural hierarchies and reclaim the body as a spiritual container rather than as a social construct. First performed in the Dean’s Chamber of the University of Manitoba for the Institute of the Humanities. Part of the Ugly But Not Inferior trilogy performed at LACE in Los Angeles.


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Ugly but not Inferior

Work ID: 79155

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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Contre Bande

Work ID: 79201

Description: In the performance/ video installation Contre Bande, each gender binds one to the other, speaking the language of the other; binding and counter-binding. Contre Bande-against the band. To band – to bind. Genet, a novelist and an admitted homosexual cites Tiresias: (who was noted for his bisexuality and his time spent as a woman as a punishment by the Gods for seeing snakes coupling) – "seven years in men's clothing, seven in women's. Because of his dual nature his femininity hounded his virility, both in play in such a way that he never had any rest, that is to say a fixed point on which to settle."

CONTRE BANDE is about the attempt to filter images through strict cultural hierarchies and reclaim the body as a spiritual container rather than as a social construct. First performed in the Dean’s Chamber of the University of Manitoba for the Institute of the Humanities. Part of the Ugly But Not Inferior trilogy performed at LACE in Los Angeles.


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Ugly but not Inferior

Work ID: 79151

Description: Performed at LACE in Los Angeles there were 3 parts to the performance, accompanied by projected text and video projection: Approaching, Contemplating, and Biting Through. During Biting Through I went into the audience and invited audience members to participate in a communal Eucharist ritual.


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St John the Baptist

Work ID: 79158

Description: “One may not be capable of loving, except for loving someone who loves.” – Baudrillard.
The performance/ installation St. John the Baptist consisted of four video monitors and a large 10 ft. x10 ft. mahogany archway. A small mechanical pump released ketchup through the arch and onto my head as I sat on the pedestal below. A motor rotated the pedestal 360 degrees at 1 rpm for 5 days while I sat on a black wooden stool. St. John the Baptist explores the idea of hospitality. “We never know who we are. Each of us is the destiny of the other. “ According to Baudrillard, hospitality represents a reciprocal, ritualized and theatrical dimension. “Whom are we to receive and how are we to receive them? What rules should be followed? For we exist solely to be received and to receive, not to be known and recognized“.


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St John the Baptist

Work ID: 79159

Description: “One may not be capable of loving, except for loving someone who loves.” – Baudrillard.
The performance/ installation St. John the Baptist consisted of four video monitors and a large 10 ft. x10 ft. mahogany archway. A small mechanical pump released ketchup through the arch and onto my head as I sat on the pedestal below. A motor rotated the pedestal 360 degrees at 1 rpm for 5 days while I sat on a black wooden stool. St. John the Baptist explores the idea of hospitality. “We never know who we are. Each of us is the destiny of the other. “ According to Baudrillard, hospitality represents a reciprocal, ritualized and theatrical dimension. “Whom are we to receive and how are we to receive them? What rules should be followed? For we exist solely to be received and to receive, not to be known and recognized“.


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St John the Baptist

Work ID: 79160

Description: “One may not be capable of loving, except for loving someone who loves.” – Baudrillard.
The performance/ installation St. John the Baptist consisted of four video monitors and a large 10 ft. x10 ft. mahogany archway. A small mechanical pump released ketchup through the arch and onto my head as I sat on the pedestal below. A motor rotated the pedestal 360 degrees at 1 rpm for 5 days while I sat on a black wooden stool. St. John the Baptist explores the idea of hospitality. “We never know who we are. Each of us is the destiny of the other. “ According to Baudrillard, hospitality represents a reciprocal, ritualized and theatrical dimension. “Whom are we to receive and how are we to receive them? What rules should be followed? For we exist solely to be received and to receive, not to be known and recognized“.


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St John the Baptist

Work ID: 79157

Description: “One may not be capable of loving, except for loving someone who loves.” – Baudrillard.
The performance/ installation St. John the Baptist consisted of four video monitors and a large 10 ft. x10 ft. mahogany archway. A small mechanical pump released ketchup through the arch and onto my head as I sat on the pedestal below. A motor rotated the pedestal 360 degrees at 1 rpm for 5 days while I sat on a black wooden stool. St. John the Baptist explores the idea of hospitality. “We never know who we are. Each of us is the destiny of the other. “ According to Baudrillard, hospitality represents a reciprocal, ritualized and theatrical dimension. “Whom are we to receive and how are we to receive them? What rules should be followed? For we exist solely to be received and to receive, not to be known and recognized“.


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August

Work ID: 79161

Description: "A middle aged prairie woman's grief and expiation is carefully observed in this digitally manipulated meditative work" - National Screen Institute

A ritual of grief and expiation, August looks to the sky as a means to connect to the infinity of creation and the source of awareness. Mystics believe that the awareness of this unity may be sufficient to carry us through our most difficult times. August is reflection on the past, loss and the contemplation of impending mortality.


Measurements: 6:15

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Christian Woman of Virtue

Work ID: 79169

Description: Christian Woman of Virtue was performed at the Liverpool Biennial and made into an experimental single channel video. The narrative consists of seven autobiographical narratives based on the seven virtues and incorporates the live performance that took place in public spaces in the UK. Cultural mixed messages about feminine significance that reflect the ambivalence about women emerged as the gospels were taking their final canonical form and continue to shape attitudes towards women within both a sacred and secular context. In this project Christian Woman of Virtue, I explored themes of ambivalence, reverberating between shame and reverence in trying to reclaim a life of spirituality.


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Covenant

Work ID: 79173

Description: COVENANT explores the differences between traditional history and effective history in an attempt to reconcile an ancient biblical narrative (Judges 11:29-39). Traditional history searches sources, establishes continuity, finds resemblances and charts developments. The performance/video COVENANT explores the idea of effective history as an alternative; charting ruptures and the fiction of unity in the myth of human history as the vehicle for redemption.


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Christian Woman of Virtue

Work ID: 79168

Description: Christian Woman of Virtue was performed at the Liverpool Biennial and made into an experimental single channel video. The narrative consists of seven autobiographical narratives based on the seven virtues and incorporates the live performance that took place in public spaces in the UK. Cultural mixed messages about feminine significance that reflect the ambivalence about women emerged as the gospels were taking their final canonical form and continue to shape attitudes towards women within both a sacred and secular context. In this project Christian Woman of Virtue, I explored themes of ambivalence, reverberating between shame and reverence in trying to reclaim a life of spirituality.


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Covenant

Work ID: 79171

Description: COVENANT explores the differences between traditional history and effective history in an attempt to reconcile an ancient biblical narrative (Judges 11:29-39). Traditional history searches sources, establishes continuity, finds resemblances and charts developments. The performance/video COVENANT explores the idea of effective history as an alternative; charting ruptures and the fiction of unity in the myth of human history as the vehicle for redemption.


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August

Work ID: 79164

Description: "A middle aged prairie woman's grief and expiation is carefully observed in this digitally manipulated meditative work" - National Screen Institute

A ritual of grief and expiation, August looks to the sky as a means to connect to the infinity of creation and the source of awareness. Mystics believe that the awareness of this unity may be sufficient to carry us through our most difficult times. August is reflection on the past, loss and the contemplation of impending mortality.


Measurements: 6:15

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August

Work ID: 79163

Description: "A middle aged prairie woman's grief and expiation is carefully observed in this digitally manipulated meditative work" - National Screen Institute

A ritual of grief and expiation, August looks to the sky as a means to connect to the infinity of creation and the source of awareness. Mystics believe that the awareness of this unity may be sufficient to carry us through our most difficult times. August is reflection on the past, loss and the contemplation of impending mortality.


Measurements: 6:15

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Christian Woman of Virtue

Work ID: 79166

Description: Christian Woman of Virtue was performed at the Liverpool Biennial and made into an experimental single channel video. The narrative consists of seven autobiographical narratives based on the seven virtues and incorporates the live performance that took place in public spaces in the UK. Cultural mixed messages about feminine significance that reflect the ambivalence about women emerged as the gospels were taking their final canonical form and continue to shape attitudes towards women within both a sacred and secular context. In this project Christian Woman of Virtue, I explored themes of ambivalence, reverberating between shame and reverence in trying to reclaim a life of spirituality.


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Christian Woman of Virtue

Work ID: 79165

Description: Christian Woman of Virtue was performed at the Liverpool Biennial and made into an experimental single channel video. The narrative consists of seven autobiographical narratives based on the seven virtues and incorporates the live performance that took place in public spaces in the UK. Cultural mixed messages about feminine significance that reflect the ambivalence about women emerged as the gospels were taking their final canonical form and continue to shape attitudes towards women within both a sacred and secular context. In this project Christian Woman of Virtue, I explored themes of ambivalence, reverberating between shame and reverence in trying to reclaim a life of spirituality.


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Covenant

Work ID: 79170

Description: COVENANT explores the differences between traditional history and effective history in an attempt to reconcile an ancient biblical narrative (Judges 11:29-39). Traditional history searches sources, establishes continuity, finds resemblances and charts developments. The performance/video COVENANT explores the idea of effective history as an alternative; charting ruptures and the fiction of unity in the myth of human history as the vehicle for redemption.


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Covenant

Work ID: 79172

Description: COVENANT explores the differences between traditional history and effective history in an attempt to reconcile an ancient biblical narrative (Judges 11:29-39). Traditional history searches sources, establishes continuity, finds resemblances and charts developments. The performance/video COVENANT explores the idea of effective history as an alternative; charting ruptures and the fiction of unity in the myth of human history as the vehicle for redemption.


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August

Work ID: 79162

Description: "A middle aged prairie woman's grief and expiation is carefully observed in this digitally manipulated meditative work" - National Screen Institute

A ritual of grief and expiation, August looks to the sky as a means to connect to the infinity of creation and the source of awareness. Mystics believe that the awareness of this unity may be sufficient to carry us through our most difficult times. August is reflection on the past, loss and the contemplation of impending mortality.


Measurements: 6:15

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Christian Woman of Virtue

Work ID: 79167

Description: Christian Woman of Virtue was performed at the Liverpool Biennial and made into an experimental single channel video. The narrative consists of seven autobiographical narratives based on the seven virtues and incorporates the live performance that took place in public spaces in the UK. Cultural mixed messages about feminine significance that reflect the ambivalence about women emerged as the gospels were taking their final canonical form and continue to shape attitudes towards women within both a sacred and secular context. In this project Christian Woman of Virtue, I explored themes of ambivalence, reverberating between shame and reverence in trying to reclaim a life of spirituality.


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Liminal Acts

Work ID: 79183

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Reconciliation #778A

Work ID: 79176

Description: Wearing neon and Plexiglas wings, and dragging my battery around in a shopping cart as I went from site to site, I volunteered full shifts at the Good Shepherd food bank (135 Mary Street) run by Brother Terrence as a Food Room Assistant, and at Emmanuel House, (90 Stinson Street) a 10-bed palliative care residence offering physical, emotional, spiritual and supportive care for those with terminal illness.

The performance took place in the city of Hamilton for one week.


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Reconciliation #778A

Work ID: 79174

Description: Wearing neon and Plexiglas wings, and dragging my battery around in a shopping cart as I went from site to site, I volunteered full shifts at the Good Shepherd food bank (135 Mary Street) run by Brother Terrence as a Food Room Assistant, and at Emmanuel House, (90 Stinson Street) a 10-bed palliative care residence offering physical, emotional, spiritual and supportive care for those with terminal illness.

The performance took place in the city of Hamilton for one week.


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Reconciliation #778A

Work ID: 79175

Description: Wearing neon and Plexiglas wings, and dragging my battery around in a shopping cart as I went from site to site, I volunteered full shifts at the Good Shepherd food bank (135 Mary Street) run by Brother Terrence as a Food Room Assistant, and at Emmanuel House, (90 Stinson Street) a 10-bed palliative care residence offering physical, emotional, spiritual and supportive care for those with terminal illness.

The performance took place in the city of Hamilton for one week.


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Liminal Acts

Work ID: 79180

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Liminal Acts

Work ID: 79179

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Liminal Acts

Work ID: 79182

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Liminal Acts

Work ID: 79181

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Reconciliation #778A

Work ID: 79177

Description: Wearing neon and Plexiglas wings, and dragging my battery around in a shopping cart as I went from site to site, I volunteered full shifts at the Good Shepherd food bank (135 Mary Street) run by Brother Terrence as a Food Room Assistant, and at Emmanuel House, (90 Stinson Street) a 10-bed palliative care residence offering physical, emotional, spiritual and supportive care for those with terminal illness.

The performance took place in the city of Hamilton for one week.


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Liminal Acts

Work ID: 79178

Description: I held a banquet for any and all persons that wished to attend in the Downtown Eastside area of the city. The Downtown Eastside has experienced an influx of problems such as drug addiction and dealing, HIV infection, prostitution, crime, lack of adequate housing, high unemployment. I hired a caterer, purchase all banquet supplies prepared a banquet, and used my artist fee to admit all guests free of charge. All remaining funds and materials were then donated to Western Front Gallery. After the guests had left the banquet, at 1:00 a.m. large platters of food were created and seven guests, including the curator, Victoria Singh, went out into the Eastside area of Vancouver, and passed out food and desserts to the homeless.


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Pneuma

Work ID: 79187

Description: PNEUMA continues my investigation into liminal/ sacred spaces, using prayer/meditation to open up communication with the audience/viewer. I believe the opportunity to access each other in the space of an installation often leads to very intimate encounters, inviting the potential for creativity. Together artist and audience can co-create, unleashing the potential for an alternative consciousness to emerge. Inside of these spaces each of the participants may feel quite vulnerable and it sometimes allows us to see things in new ways. In these spaces, through encounters and conversations, I try to hear a God not contaminated by being. The focus of PNEUMA, is on love, mercy and healing. These encounters with viewer(s)/audience are a part of my ongoing attempt to explore Edith Wyschogrod's notion of saintly postmodern ethics in this moment of endless waiting.


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Pneuma

Work ID: 79188

Description: PNEUMA continues my investigation into liminal/ sacred spaces, using prayer/meditation to open up communication with the audience/viewer. I believe the opportunity to access each other in the space of an installation often leads to very intimate encounters, inviting the potential for creativity. Together artist and audience can co-create, unleashing the potential for an alternative consciousness to emerge. Inside of these spaces each of the participants may feel quite vulnerable and it sometimes allows us to see things in new ways. In these spaces, through encounters and conversations, I try to hear a God not contaminated by being. The focus of PNEUMA, is on love, mercy and healing. These encounters with viewer(s)/audience are a part of my ongoing attempt to explore Edith Wyschogrod's notion of saintly postmodern ethics in this moment of endless waiting.


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Pneuma

Work ID: 79185

Description: PNEUMA continues my investigation into liminal/ sacred spaces, using prayer/meditation to open up communication with the audience/viewer. I believe the opportunity to access each other in the space of an installation often leads to very intimate encounters, inviting the potential for creativity. Together artist and audience can co-create, unleashing the potential for an alternative consciousness to emerge. Inside of these spaces each of the participants may feel quite vulnerable and it sometimes allows us to see things in new ways. In these spaces, through encounters and conversations, I try to hear a God not contaminated by being. The focus of PNEUMA, is on love, mercy and healing. These encounters with viewer(s)/audience are a part of my ongoing attempt to explore Edith Wyschogrod's notion of saintly postmodern ethics in this moment of endless waiting.


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Pneuma

Work ID: 79186

Description: PNEUMA continues my investigation into liminal/ sacred spaces, using prayer/meditation to open up communication with the audience/viewer. I believe the opportunity to access each other in the space of an installation often leads to very intimate encounters, inviting the potential for creativity. Together artist and audience can co-create, unleashing the potential for an alternative consciousness to emerge. Inside of these spaces each of the participants may feel quite vulnerable and it sometimes allows us to see things in new ways. In these spaces, through encounters and conversations, I try to hear a God not contaminated by being. The focus of PNEUMA, is on love, mercy and healing. These encounters with viewer(s)/audience are a part of my ongoing attempt to explore Edith Wyschogrod's notion of saintly postmodern ethics in this moment of endless waiting.


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Pneuma

Work ID: 79184

Description: PNEUMA continues my investigation into liminal/ sacred spaces, using prayer/meditation to open up communication with the audience/viewer. I believe the opportunity to access each other in the space of an installation often leads to very intimate encounters, inviting the potential for creativity. Together artist and audience can co-create, unleashing the potential for an alternative consciousness to emerge. Inside of these spaces each of the participants may feel quite vulnerable and it sometimes allows us to see things in new ways. In these spaces, through encounters and conversations, I try to hear a God not contaminated by being. The focus of PNEUMA, is on love, mercy and healing. These encounters with viewer(s)/audience are a part of my ongoing attempt to explore Edith Wyschogrod's notion of saintly postmodern ethics in this moment of endless waiting.


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Bushi

Work ID: 79192

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79194

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79191

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79196

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79190

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79189

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79193

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Bushi

Work ID: 79195

Description: BUSHI was an Installation/ Performance performed over a week at the Winnipeg Contemporary Dance Studio in Winnipeg. Video Pool Media Arts Centre commissioned the project for their 25th Anniversary. The Bushi was about transformation through the use of ritual and technology in a nature based projected video environment. BUSHI continues my interest in cultural practices that reconstitute and redefine rituals, and my attempt to challenge ethics, meaning and the role of the artist in current plural realities. Bushi is a combination of a Confucian approach and Zen Buddhism, which promoted austerity, detachment and "no-mind" concentration as an ultimate approach to combat situations as well as daily life, and considered martial arts as a way to self-realization and to the expression of one's Buddha-nature.

Bushi includes: a life of humility; a life of labor; a life of service; a life of prayer and gratitude; and a life of meditation. The key is daily regularity. The Bushido and its ties to Zen claim the path to enlightenment is through the practice of physical rituals. This research led to an interest in the warrior mindset of both martial training and daily life or "martial arts” in my search for the soul of the modern warrior, My daily rituals for one week incorporated Goju Ryu Karate (the way of hard and soft), and Iaido, the art of cutting and drawing the sword to develop awareness, centeredness, sincerity and a calm mind. In addition to training, I served tea to guests in the tea house.


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Zuma

Work ID: 79199

Description: A performance ritual of grief, reconciliation and healing, Zuma explores the social construction of shadow mothers. Zuma is both a physical place and a metaphor for ambiguous loss.


Measurements: 11:03

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Zuma

Work ID: 79198

Description: A performance ritual of grief, reconciliation and healing, Zuma explores the social construction of shadow mothers. Zuma is both a physical place and a metaphor for ambiguous loss.


Measurements: 11:03

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Zuma

Work ID: 79197

Description: A performance ritual of grief, reconciliation and healing, Zuma explores the social construction of shadow mothers. Zuma is both a physical place and a metaphor for ambiguous loss.


Measurements: 11:03

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