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My arts and advocacy processes are acts of communication towards the world. Not necessarily for identified audiences, but towards a planet imagined through my own artistic lens built from a summary of my experiences. This does not mean I do not identify audiences to direct works towards, but that my arts actions are always conducted in my reality, making processes acts of communication to the public through self-reflection and documentation that is casually yet consistently shared.

My arts behaviours are always adapting, even though my act of remaining adaptive is consistent. I challenge as a form of process and this critical evaluation of subject, form, and my own thought processes creates a multitude of preconceived arguments supporting my rationalization of decisions. These may be simple choices at times, while others navigate complex political and social constructs, positioning my arguments on one side or another of any given subject.

I often attempt to consider human factors in the projects I am engaging and respect many viewpoints during artistic conceptualization while remaining fully aware that I cannot be anyone else, I can only empathize with other perspectives. This is crucial when considering age, history, gender, race, culture, language, relationships, ability, and many other factors that shape how we collectively and individually realize the world as many different people in proximity to each other. Navigating this terrain as an artist is complicated but making art and artistic messages that are relevant to those I care about, those that may not share parallels to my own identity, requires effective communication, care and at times translation.

My current body of work “possibilities of human intervention” addresses my fleeting hope of survival within an increasingly technology-focused world.

This was where I was at when I applied to be part of the Performance Resolution(s) by FADO Performance Art Cetnre and I have not wavered in my intentions since. FADO had placed a call for submissions for an at-home residency series seeking proposals for performance-based research projects that engaged with the theme of “resolution”, how could I resist? Once approved, I immediately began formalizing my processes within this project that spanned several months as I explored the relationships between machines and my body.

This work is part of a continuation of my ongoing exploration of societal efficiencies and redundancies, specifically as I question the use of technology and the obsession people have with data. I am hyper-aware of the volume of practices that engage this subject, yet my work is compelled to explore its continuous impact on my social wellbeing. This is part of a larger understanding of my stress levels and overall life in the “modern” world in which I share with you today.

I have spent the majority of my career working daily with machines, specifically computer interfaces for design and administration. My relationship to technology and previous projects I have conducted compile dramatically over time, leading to moments in which reckonings must take place. Do I continue on this pathway of technological assimilation or do I fight against societal norms and go off the grid? This pondering is a huge part of my life as I struggle with my work and social interactions reflecting on the love-hate relationship I have with the digital world and how it has become all encompassing.

My relationship with machines remains complicated as my arts practice spans both digital and analog technologies over the past 20 years. Many devices are invented with the intention to make life easier and replace human effort, yet these devices often bring additional actions, requirements and life constraints with their implied convenience. Each new device or service requires training, maintenance and the time of the user. As a result, people are continuously increasing technological reliance, we add more emphasis on technological action-based behaviours, adapting them into the social constructs of everyday life.

This, combined with ever increasing corporate data hoarding, file obsession, and mass consumption forces me to question societal intentions as well as my own proximity and relevance to the world we live within.

My artistic creation process is both research-based and practice-based. I compartmentalize research actions into individual explorations, each viewable as independent bodies of work, yet my process also often engages in understanding connecting prints between tangible products and many human factors that can be viewed collectively to achieve overarching impacts.

I treat my creation processes as open-ended investigation into my relationships as I cannot make art without including myself as part of the equation. My performances are often time-based one-off performative “happenings”, each work being itself a stand-alone performance but connecting to my larger body of work through time. These happenings can be a few hours or take multiple days in length each responding to an identified idea, technology, or situation that I am considering.

My self-guided arts process follows the very basic format of:

IDEA > QUESTIONS > DESIGN > DISCUSSION > REDESIGN > FABRICATION > PERFORMANCE > DOCUMENTATION > DISSEMINATION

This directional pattern of behaviour mirrors my response to digital platforms where I broadcast to the world. It is ironic that I utilize social media to broadcast yet have completely stopped engaging in personal exchanges online through these spaces as the hostility and toxic behaviour found there is intolerable to me. Today I find social media to be everything but “social” and instead are the new-generation media outlets operating without regulation or democratic value systems. In anycase, I utilize these spaces as they are what is available at this time.

Intervention 03 – 3D Printed Performance

(Multi-Arts, Performance Art, Technology, 3D printer, Machine, Co-Design)

As I engage in compartmentalized actions, processes of questioning lead me down various pathways. As someone who works with 3D design often, I cannot help but begin with the third performance work as it was the idea that started this project. The ideation process was as follows;

• Will I have a role to play when there are no jobs left for human beings?
• Can contributing towards technology help ensure my vitality in this new world?
• Can I become part machine?
• Can I turn my body into a 3D printer?
• How would it feel to be part 3D printer?
• What behavior would being part machine entail?
• What would I 3D print in my new human-machine body?

These questions led to designing a way for 3D printer filaments to become part of my hand and arm as a functional technology assemblage which then allowed me to conduct the performance “3D Printed Performance” as I attempted to be a 3D printer and print my first object. This performance took place within the Black Box Gallery which is a project space for the ON THE EDGE Fringe Festival in North Bay, Ontario. The festival had supported other works in process and was able to open their doors to me even during a lockdown as following health and safety regulations with 4 people total was safe and there was no public facing aspect to what we were doing other than the outcome videos produced.

I was supported by Kelsey Ruhl who is the festival Artistic Director and my partner Tara Windatt who supports the festival as Administrative Director. Additionally Joshua Bainbridge of the Proscenium Club was able to come and help us with filming everything. We worked together as a group of friends helping each other. I am very lucky to have their support as these performances were challenging conceptually and at times physically.

When I began the performance and started printing, the process was alien yet sadly familiar at the same time. The technology being attached to my body became an extension of my person. As the printed plastics were expelled from my electronic fingers I started to see the plastics as excretions of my body. As a spider makes a web or as a caterpillar makes a cocoon, so I began the process of engaging my environment and following these nes instincts.

As my hands pulled melted plastics from there holdings and the plastics became rigid, I realized that I was trapping myself into a static location and continued to go with it. I was tied into place which had an odd sensation of comfort grounding me into the wall I was not connected to. I thought about the connection a butterfly may have to the leaf where it transforms within its cocoon and if the butterfly feels an attachment. It had the feeling that I was becoming at home in that space and realized the security that comes with the concept of home.

I share all these thoughts as my mind essentially replaces the computer component of a 3D printer with my own brain. I burned myself with the filaments when I began weaving my web-like strands on my head. The pain was sharp and left a series of small scars on my head and abdomen. I thought about how it must feel to enter and emerge from a cocoon as an insect. I also thought about whether printers that feel would dislike the same sensations or if they would enjoy it. Although this short performance engages this subject, I now wonder if 3D printers will also understand the concept of home and feel safe in their environments. Am I building empathy for machines?

Intervention 01 – Email as Body as Art

(Multi-Arts, Performance Art, Technology, Communications, Email, Collage, Co-Design)

The first happening that I conducted within this project was to consider communication methodologies and technologies responding to another call for submissions by SPiLL.Propagation. The call for participants had identified parameters allowing me to make work responding to both my project and theirs. The resulting performance art piece “email-courriels” or “Email as Body as Art” became the response itself and literally took the form of my body as communication (email).

SPiLL is an organization founded by both Deaf and not-Deaf artists in an effort to decenter spoken and written languages in favour of sign languages and visual experiences. I wanted to consider my relationship to SPiLL members and make an offering of respect and care in consideration of this vision within my project, exploring and challenging my own ability and perspective through actions as communication as my body becomes technology.

I fabricated a suit from paper-based correspondences, primarily email printouts from my recycling bin and added the various arts materials provided by SPiLL’s residency program. I painted myself in an effort to show a visual aesthetic transfer between the suit and my body attempting to make them cohesive. I left my home to work in my backyard as requested by SPiLL’s call to action and because the act of communicating from one place/person to the next is the primary function of email.

My life as an arts advocate and administrator involves a great amount of reading, writing, and responding to emails as the majority of daily lived experience. I live in Sturgeon Falls, Ontario which is predominantly francophone, and SPiLL is based primarily in Quebec, so operating in both languages was a response to my home and the recipients. Emails are non-verbal in nature and responding in this way felt like a natural form of communication to have with SPiLL, especially considering I am an anglophone that does not hold the current capacity to engage in sign language. I created captioning in both French and English, adding words to the documentation to emphasize specific audio as my way of stating what was and was not present.

I drafted my email response as a clear and warm discussion between myself and the people of SPiLL and then brought that message out of my home to share with the wind, trees and birds that live outside. This transfer from my office with printed materials in hand was where the unseen performance began as the video documentation starts once I am outdoors. The video created is the outcome of the performance and has been edited for the purpose of effective sharing in digital spaces.

The presentation of speechless words being read to an outdoor space is my response to becoming technology and being a form of communication as the email itself, but also responding to SPiLL’s deprioritizing of auditory communications. Given more time and effort, I would rather learn sign language than make work that emphasizes non-verbal communication in general. My hope is that being respectful and showing effort as a short-term communications offering is received.

Intervention 02 – Air Filter – Protect – Explore

(Multi-Arts, Performance Art, Technology, Air Filter, Protective Equipment, Assemblage, Co-Design)

Although I had originally planned many performances, the events of the past year have had greater impacts on me and my personal life than I would have ever expected. Losing family and friends in a time of crisis has taken a toll and although you would think that the crisis would become normalized, each loss is unique and each experience refreshes my state, perpetuating the crisis further.

This motivated my actions in considering protection and isolation as Ontario has experienced so many lockdowns, health restrictions and new processes that I became determined to take matters into my own hands. The idea of living within an air filtration system came into mind as a way of protecting myself but, as with the previous performances, the realization of being the technology did not occur until the performance began.

The suit was fashioned relatively quickly using recycling bags and a few party balloons I found. I secured a 100ft dryer hose and attached it to an air blower used for a child’s bouncy house. The suit was made the day of the performance on-site at the Black Box Gallery and I had Kelsey, Tara and Josh’s help again. This time, I worked between indoors and outside utilizing the parking space in front of the building as my performance venue. The old machine shop building is in downtown North Bay but as we were in lockdown, we did not see many people walking around. There were cars driving and various closed buildings which perhaps was the audience that I was hoping for.

Making a protective suit during a pandemic had a great amount of social pressures and considerations that I unavoidably considered as part of my process. I imagined someone walking on the street and seeing me in a space-age isolation suit triggers a breakdown as they think I am making light of the terrible situation they are experiencing. Although I worried that I could offend someone who has been hurt by the pandemic, I wanted to express my own hurt and was willing to take the risk.

The air pressure within the suit was immediately overwhelming as it compressed my boots tightly against my ankles cutting off my circulation. It hurt so much that I found it hard to walk. It is strange but the pain helped me to focus on the performance and make every moment count. I also began to sweat a lot as the moisture from my breath was being captured in the suit. The biodegradable plastics of the recycling bags beaded with moisture and my hands rubbing across the surface made a screeching sound unique to this experience. I thought about how I had never heard that noise before and could not believe how loud it was.

The performance of “Air Filter – Protect – Explore” started indoors and transitioned to outdoors ending with my return into the building. All movements were my response to being within the suit while attempting to be the suit. The video captures the echoing audio well as wind and cars interrupt a soundscape where nature and technology are dancing together. My fumbling movements are in a way part of that dance. I am not a dancer but I dance. In that way, I am not a machine but want to engage in that way of being and make an effort as best I can to respect things from my own perspective.

moving forward

A key factor in my work is that I am not creating new ways of being for others; I am seeking new ways of being for myself alone. My processes are in no way intended to be prescriptive to others as I seek to better understand my own actions and relationships. If others find value in my processes and adapt them to their own ways of being, that is their business.

We live in a world where technology as a tool for people has begun to dictate complicated actions and behaviours in using that tool, refocusing lives around it instead of replacing effort. Through this series of temporary performance activations, I infuse, alter, or manifest machines, digital actions, and overall technological functions into my body. This disruption of instinctual function is my basic way of exploring my usefulness in a technology-centered world. One that seems to hold less space for people and the natural world and more for machines or the all-consuming pursuit of technological inclusion within all aspects of life. I approach this as both an open mind willingness to be assimilated and as a provocateur exploiting controversy through argument.

I have also imagined what it would feel like to be cryptocurrency, a water tank, a vhs player, a laser, an 8-bit printer, a hard drive and many other devices that proved too difficult to realize and/or fabricate alone during a pandemic. Also, I would have loved to document these performances through older technology such as VHS recorders or Super8 film as it would have added layers of technology translation to my process. I was unable to do this as it required more help during a time when meeting in person was impossible or at least unhealthy.

I love technology and I hate it as nothing can influence opinion without occupying a great amount of time and care. All in all, the best parts within these processes have been between living people and requiring those people to be in-person as none of the ideas I was exploring made sense to be conducted through digital spaces. I want to thank everyone involved in this project including the various artists, organizations and friends that helped me to make it possible. I hope to continue these exploration in new ways but hopefully, in a much more public way.