Public Office

Public Office – 2014 to 2016
During the 2015 Canadian federal election I ran as an Independent candidate in the Papineau riding. After working with self-representation for more than a decade, with this project I decided to question the role of images in contemporary politics.

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Made in Quebec

Made in Québec – 2015
The project involved exporting myself to China to work for workers, framing myself as a Canadian commodity at work in a Chinese context. This gesture can be understood as a giving back of some of the time that Chinese products have saved Westerners.
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Same Day

Same Day – 2012
The exhibition Same Day explores the many different voices in news media that frame events and the limitations of trying to take part in a public discussion. In response to the dispute over tuition increases last spring I wrote a letter to Premier Jean Charest that I sent to six different newspapers in Canada; the Montreal Gazette chose to publish a heavily edited version of my text. In order to have my opinion published I had to accept being gazettified.

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Pig Head

Beautiful Creatures – 2010 to 2013
In order to understand how animals are transformed into the meat that we eat, during a one-month residency at English Harbour Art Centre in Newfoundland I put myself in the shoes of the slaughterer, the butcher and the cook.
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Couple 11

Triples – 2009
This project explores the strange and unusual sensation of introducing a third, the other, to our concept of the couple. During a three-month artist residency in Vienna, Austria I produced a series of photographs titled Triples, where I approached couples and photographed our suggested intimacy in the private context of their homes.
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The Dad Tapes / The Mom Photographs: Chronology – 2007
The Dad Tapes / The Mom Photographs installation reveals the constructed nature of family snap-shots. The accompanying video, Chronology, compiles an hour of short clips that track a 30-year history of simultaneous recordings: my father’s home movies captured the before and after of my mother’s family photographs. Although the footage testifies to a particular personal history, the final work speaks more of a collective experience of families choreographing themselves for the camera.
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The Dad Tapes / The Mom Photographs: Sunsets – 2007
In the second work from The Dad Tapes / The Mom Photographs, Sunsets, I similarly use my parent’s taping and photography to examine their repetitive preoccupation with capturing the “timeless” subject of the sunset. While the intention of the documents was to preserve these moments forever, both artworks underline the bittersweet sensation of loss and futility within the whole process of documentation.
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Working Assumption – 2003
I asked male strangers in Paris, France to borrow their clothes and workspace in order to create photographs that evaluate my prospects as a woman in joining the workforce.
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