"Early-career: at the UBC Museum of Anthropology in Vancouver, where I learned about visual culture and the politics of representation by working alongside Northwest Coast First Nations communities. Mid-career: Tree of Codes, the ballet adaptation by Wayne McGregor with Olafur Eliasson and Jamie xx. Based on a book created as a sculptural object, recast as dance, art and music-incredible. Seeing this probably planted a seed for wanting to find a way to work with Wayne on something that has eventually become his exhibition Infinite Bodies."
"Brian O'Doherty's Inside the White Cube: The Ideology of the Gallery Space is a book that keeps resurfacing in my work. He captured the changing experience of art from the spectator's perspective, covering Modernism through the 1980s. While a lot has changed since then, the questions around the experience of art persist, and are very relevant to our experience-driven culture in a late capitalist economy."
Rodney Graham's My Late Early Styles (Part I, The Middle Period) is a self-portrait that revels in quotidian aspiration and is undercut by self-deprecating humour. A noted line states, "It's so hard being a conceptual artist when you've run out of ideas." Early-career work at the UBC Museum of Anthropology introduced visual culture and the politics of representation through collaboration with Northwest Coast First Nations communities. Mid-career exposure to Tree of Codes, a ballet by Wayne McGregor with Olafur Eliasson and Jamie xx, connected sculptural book form to dance and music and inspired later collaboration on Infinite Bodies. Brian O'Doherty's Inside the White Cube frames ongoing questions about the spectator's experience in an experience-driven, late-capitalist culture. Engagement with VFX Artists React and a Clore Fellowship secondment at Industrial Light and Magic reflect sustained cross-disciplinary and film interests.
#curatorial-practice #visual-culture-and-representation #performance-and-cross-disciplinary-collaboration #art-experience-theory
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