Strata of waste plastics link human and geologic time, consumer culture and the ecology.
A woven translation of an image first published in James Hutton’s Theory of the Earth in 1795. This textile iteration embeds waste plastic into the woven structure and by extension, into the geologic landscape it depicts.
is a series of paper forms made through improvised pattern drafting and stitching. Subtle geological textures are recorded on the paper with graphite rubbings.
Three screenprints pairing precise cut/fold patterns for models of rocks with quotes* on the value of wonder, ambiguity and embodied knowledge. *Jones, Rachel E. “On The Value Of Not Knowing: Wonder, Beginning Again and Letting Be.” On Not Knowing: How Artists Think, edited by Rebecca Fortnum and Elizabeth Fisher, Black Dog, 2013.
An ongoing streaming video series that uses the internet and digital video, to deliver the image of a boulder for the duration of one day or longer.
Watching Rocks: Banff was streamed live on November 29, 2016 for Running With Concepts: The Geologic Edition at University of Toronto. Aislinn Thomas' Rock disguises (for rocks and humans) is pictured in the foreground.
Watching Rocks: Brandon was screened live at the Art Gallery of Southwestern Manitoba on June 17, 2016 within the exhibition Part Time Deep Time curated by Natalia Lebedinskaia.
Watching Rocks: Hamilton was screened live at AKA, Saskatoon from September 15 to October 21, 2017 within the exhibition Here and now and then curated by Tarin Dehod.
This episode features Matthew Walker's work Extinction Event.
Photo credit: Derek Sandbeck
A series of low relief sculptures inspired by the geologic phenomenon of the glacial erratic.
The pattern used in geological mapping to represent metamorphic rock is here stitched into paper. A wooden scaffold supports the form.
FOR ALL THAT WAS SOFT
Paper, cotton, wool, cashmere, marble.
Two columns referencing the layers of rock that make up the Earth’s crust and document its past. Their printed textiles borrow patterns from geology.
PART TIME DEEP TIME / WIRE
Wire drawings used as plates to make prints now folded and compressed.
Installation view of Tie Up, Draw Down at the Centre for Craft Creativity and Design, Asheville, NC (2017) with works by Meghan Price, Lizz Collins, Joel Baxter and Margo Wolowiec (left to right). Curated by Natalie Campbell and Carissa Carmen.
PART TIME DEEP TIME / PRINTS
A series of prints made with inked wire drawings.
is a response to diagrams found in the book Design Data For Aeronautics and Astronautics (ed. Richard B. Morrison, University of Michigan, 1962). The project includes a series of six wire drawings and six screenprints. The prints depict the found diagrams perforated with constellations of pinpricks. The use of pins is instrumental to the process of drawing with wire.
ACTING LIKE STARLINGS
Wire drawings guided by the observation of complex, emergent patterns arising in nature and the city and monoprints made using the drawings as plates.
An enlarged wire drawing from the Acting Like Starlings series here translated via water-jet cut steel.
A series of six weavings featuring patterns created by processing images of flocking birds through the pixelation, grid system and binary logic of digital jacquard weaving.