• The Fruit Machine (2014)

    The Fruit Machine is a queer reclaiming of the RCMP’s homosexuality testing device of the same name created in 1960’s Ottawa when the fear of communism was at a high. The original machine was designed to detect homosexuality in government workers with the intent to discharge them from their positions. The project was ultimately abandoned in 1967, having never moved beyond the testing phase. The reimagined Fruit Machine is a campy satire of the original device. Hostess Roxxie Terrain invites audience members to sit in a vintage dentist chair and subject themselves to the homosexuality test. Photography by Bailey Northcott and Katrina Sung.
  • Magnetic-core Memories (2012)

    Magnetic-core Memories is a machine-driven performance piece centered around a 1950's era robot whose memory was erased in an attempt to neutralize its perceived technological power. For decades it has been attempting to recreate those lost memories and its own identity through a magnetic pseudoscientific process. The memory is physically represented by ferrofluid (a magnetic liquid) in the bottom of a tank of water which serves as the robot's brain. A grid of electromagnets behind the brain pull the memory fluid through the tank in a choreographed sequence. The fluid separates and reconnects but eventually the system fails. The cycle repeats after one minute, but the memory recreation sequence never succeeds.
  • RE:Member (2011)

    Human experience exists entirely within our own personal memory, but while these memories are intangible, they are able to define, shape and create everything we know and understand. While our mind has the capacity to remember the most minute or menial moments it can also allow important or life-changing experiences to slip away. RE:Member attempts to recreate those lost memories. The program initiates by searching Twitter for Tweets recalling lost memories. From there, it displays a series of photographs relevant to the Tweet by using the Flickr API. The result is a fabricated memory. While the program can never truly recreate these lost memories, are these new ones any less tangible? What defines a memory to begin with? How can we discern between a real or fake memory? This work was exhibited at xInfinity in the IMA Gallery (March, 2011).
  • Clown Sound (2010)

    This performance piece is a combination of the Pochinko clowning method and a digitally manipulated environment. By tracking the clown's nose via webcam, a program generates different sounds based on the clownʼs position. This specific style of clowning values a raw performance based on honest emotions and impulses, so as the clown encounters these sounds he gradually discovers (with the help of the audience) how movements and gestures affect his environment. At first a total foreigner, he gains acceptance by uniting his audience. The piece explores notions of community, alienation and the fear of the unknown. While the audience may initially reject or fear him due to preconceived stereotypes, he will eventually earn their trust and adoration through raw humanity.
  • Seed (2009)

    This collaborative work is an exploration into the disposable nature of modern culture. Installed in the abandoned Bata shoe factory in Batawa, Ontario, Seed spanned four floors of the over 100,000 sq/ft factory. At the core of the piece is a daily cycle, beginning with Day and progressing through Twilight, Night, and Dawn. Musical compositions work in tandem with traditional sculpture as well as floral light sculptures which guide the audience through temporal transitions while also encouraging exploration within the space. These sculptures pay homage to past technologies and processes while acknowledging their societal deterioration and their subsequent rebirth in modern times. This cyclical nature of existence is integral to the piece.