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This project responds to Mary Shelley’s 1818 novel, Frankenstein. The creature at the heart of this story is an object of both fascination and revulsion. Like all monsters, he exists outside of normative standards and in doing so represents our most fearful selves.

The drawings are based on Boris Karloff’s performance of the monster, within James Whales’ Frankenstein films from the 1930s. Karloff's iconic representation has come to stand for the very idea of a monster.

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Queen Elizebeth Park

Vancouver, Canada

The installation Recreation includes 10 independent audio channels spread around the old quarry in Queen Elizabeth Park, Vancouver. Each of the audio channels is a separate soundscape composition referencing to the various utilities of the site since colonization. These compositions are generated by Audio Metaphor from excerpts of text related to the moments in time. Below is the artist statement and excepts from the 10 texts.

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Installed at the Roundhouse Community Centre (Vancouver) as part of the annual Memory Festival, this installation represented fragmented words and phrases taken from the other artworks and theatre projects in the festival.  All that was left explored the limits of language as a vehicle for memory.

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The Gaze of History exhibition presented a series of prints and drawings from the Burnaby Art Gallery's collection that considered the gaze and directed looking. The powdered graphite faces I drew directly on the walls of the gallery interacted and responded to these framed works and represented the real and imagined former residents of this building.

“Fairacres,” as it was first known, was built as a retirement estate by Vancouver realtor Henry Ceperley and his wife Grace in 1910. Prior to its conversion to the gallery in 1967, the mansion housed a succession of wealthy families, beginning with the Ceperleys (1910-1939), a community of Benedictine monks (1939-1954), a controversial religious cult (1954-1965) and a university fraternity (1965-1966).

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material exploration 

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Miexed media installation

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We were asked by Corelam inventor Christian Blyt to come up with an idea to help market Corelam to industry professionals at trade shows. To do this, decided to showcase the elegance of Corelam's form factor and it's sound dampening properties by creating a trade show installation that would hang suspended.  Potential customers would be invited to stand inside the installation where they would notice a drop in the din of the tradeshow floor.  I worked primarily on the wood prototype and my partner Sam did a proposal for a redesign on the current Corelam website.

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Personal Projections - Interactive Installation.

The Personal Projections project intends to explore the creation and realization of personal identity, and the disconnect between a person's understanding of their own identity and their actual perceived identity by others. The installation aims to arouse questions from the audience pertaining to their own personal identity, who they are, what makes them unique, and what they know about themselves.

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This photographic series is a convergence of installation and typography. Each of the five compositions represent a virtue from Benjamin Franklins list of 13 virtues. The objects in the installation symbolically relate to theme of personal growth. Each unique composition is reflective of its virtue, which is communicated through the typography.

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Body Space is a reflection on the space our bodies occupy. Posture and movement are impeded by fragile cloth barriers, vision is obscured by the textile ceiling. Relative to the spaces we interact with daily in the city, this space is hostile, even though the material is innocuous. Within Body Space our physical limitations are brought to the forefront, and we notice our own vulnerability.

Body Space was an installation on Granville Island in 2011.