Swingsite [installation view/video stills], space between buildings, swing / SD video, sound; 4.6 x 13 entrance, narrows to 1 along 43 depth / 60

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1 Swingsite [installation view/video stills], space between buildings, swing / SD video, sound; 4.6 x 13 entrance, narrows to 1 along 43 depth / 60 seconds This unauthorized installation of a playground swing-set in a narrow space between two buildings transformed this disused site into an experiential work of art. In its use, the swing granted a profound sense of freedom within this confined space and established a visceral relationship between the user s body and the raw physicality of architecture.

2 Parlour of Twilight [exterior view of neon sculpture over rear window of Gladstone Hotel rm. 405, Toronto], neon light, transformers, electrical wiring; 72 x 36 Both a private hotel room and public art piece, this permanent installation is based on the classic film noir trope of the seedy urban hotel at night. The room s neon sculpture is based on the wrought-iron work, standing vigil through the night as a memorial to those evicted from the hotel to make way for its new class of lodgers.

3 Parlour of Twilight [interior view of Gladstone Hotel room 405], cobalt glass mirror, neon, wired glass, textiles, hardwood; 18 x 12 x 9.5 Both a private hotel room and public art piece, this permanent installation is based on the classic film noir trope of the seedy urban hotel at night. The room s neon sculpture is based on the wrought-iron work, standing vigil through the night as a memorial to those evicted from the hotel to make way for its new class of lodgers.

4 (Bouquet for) Tehran, 14/01/2006, c-print of altered press photograph; 19.5 x 28 One in a series of digitally altered press photographs, depicting news conferences from every continent over the last twenty-five years, that foreground sculptural microphone bouquets as ready-made memorials found at these sites of collective loss.

5 (Bouquet for) Baghdad, 20/04/2006, c-print of altered press photograph; 19.5 x 28 One in a series of digitally altered press photographs, depicting news conferences from every continent over the last twenty-five years, that foreground sculptural microphone bouquets as ready-made memorials found at these sites of collective loss.

6 PK20 Dogsled, c-print composed from PK20 video stills; 19 x 72 The PK20 video and photo series repurposes Danish designer Poul Kjaerholm s 1967 chair as a sled to traverse a Nordic landscape, a natural imitation of the white-cube photo studios his designs were typically photographed in. The project is both an homage and critique of the formal and spatial conceits of Modernist design and product photography.

7 40 Years [installation view], glass, mirror silvering; 40.5 x Years is the largest in a series of mirror works named after the Japanese term bokeh, which signifies both the out-of-focus areas of a photograph and the mental haze associated with aging. In each successive mirror, one s reflection become increasingly blurred until dissolved in refracted light, like vision and memory deteriorating in the course of aging.

8 40 Years [details of elements 1, 3, 6], glass, mirror silvering; 6 elements, each 40.5 diameter 40 Years is the largest in a series of mirror works named after the Japanese term bokeh, which signifies both the out-of-focus areas of a photograph and the mental haze associated with aging. In each successive mirror, one s reflection become increasingly blurred until dissolved in refracted light, like vision and memory deteriorating in the course of aging.

9 Bokeh Mirror (Portrait Ellipse) [installation / detail], wired security glass, mirror; 40 x 27 While taking the form of a conventional vanity mirror, this piece produces blurred reflections beneath a sharply focused grid of diagonal black lines. One s eyes struggle to focus on these two incongruent visual orders, giving rise to the sense that this is less like a mirror and more like wired glass window offering a view into another space at an other-self.

10 Double Decayed Microphone Bouquet [foreground] + Bookends (for LB & RS) [background], oxide-enriched earthenware, porcelain; dimensions variable These sculptures, which are composed of piles of slip-cast microphone forms, reference the informal shrines and memorials that emerge in public space in response to the mortality, suffering, and loss witnessed daily through the news media.

11 Decayed Microphone Bouquets (Memorial Site), digitally printed textile, oxide-enriched earthenware; 12 x 62 x 189 Sculptural hybrids of microphone bouquets and funerary flower arrangements anchor this memorial site defined by a disrupted textile grid. Mimicking the gallery flooring. this textile references the Modernist grid employed in architecture and city planning to over-write previous histories of occupation.