The three bodies of work in this section all employ found, salvaged and collected objects. In different ways, they are reflections on what can be made of what is left behind.
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The works in Refuse were created primarily with materials that were scavenged from the Nova Scotia beach where I lived at that time. Refuse suggests a poetic and political economy of debris, and was shaped by my experiences as a new mother.
West Lawrencetown · Installation view, Mount Saint Vincent University Art Gallery. Glass shelving, flotsam and jetsom (bones, ammunition casings, tampon cases, gloves, shoes, toys, other), newspaper images, 13.2 m (length), 1990
West Lawrencetown · detail. Glass shelving, ammunition casings, tampon cases
West Lawrencetown · detail. Glass shelving, found shoes, newspaper clipping
West Lawrencetown · detail. Glass shelving, flotsam and jetsom (toys, duck decoy, spade), newspaper clipping
West Lawrencetown · detail. Glass shelving, flotsam and jetsom
Tests · Cradle, sea urchin tests (shells), depth charge casing, photographic mural prints, photograph. Cradle is 101 cm (length)
Tests · detail. Photographic mural print from excised newspaper clipping, 120 × 120 cm
Tests · Cradle, sea urchin tests (shells), depth charge casing. Cradle is 101 cm (length)
Refuse · Installation view. Painted wood, 95 × 95 × 95 cm
The word ephemeris refers to things that last for very short periods of time, and which may be fragile and transient: insects that pass through their life cycles within a 24-hour period, collected paper debris from everyday life, and the daily tables of celestial coordinates used by sailors and navigators. The Ephemeris work stemmed from my continuing interest in marine subject matter, and in the problematic narratives of exploration, discovery and heritage.
Ephemeris · Installation view, Anna Leonowens Gallery, Halifax, 1994
Ephemeris · Installation view, with Anchor Chain in foreground, and Trawling Anchor diptych on wall, 1994
Anchor Chain · Cardboard, various materials, 76 × 102 × 26 cm, 1994
Ephemeris · Installation view, with Log Line Governor, Chain Hooks and Killick grouping. Paper, steel, steel mesh, paint, 172 × 80 × 200 cm, 1994
Ephemeris · Installation view, with Scuttled in foreground. Altered found books, metal and wood plinths, 1994
Scuttled · detail, 1994
Scuttled · detail, 1994
from the debris field is an installation of silkscreened monoprints made from rubbings (frottages) of found metal objects gathered along the roadsides of central Toronto. Shapes and surfaces from tailpipes, washers, s-hooks and rail spikes float on steel and rust-coloured grounds carrying the textures of asphalt and concrete. This work was produced during a residency at Open Space print studio in Toronto, 1998.
from the debris field · Installation view, Anna Leonowens Gallery, Halifax, 1998
from the debris field · Silkscreen monoprints on rag paper, each 101 × 63.5 cm
from the debris field · Silkscreen monoprints on rag paper, each 101 × 63.5 cm
from the debris field · Silkscreen monoprint on rag paper, 101 × 63.5 cm