Repetition as Learning<\/strong><\/h2>\n\n\n\nCarruthers and Wesley began making art together in 2004 as a way to learn to live life with others and a place to negotiate, debate, and research questions fundamental to their lives. A major aspect of this negotiating has been performing dialogues between themselves and the (her)stories and artworks of other women artists. It is no accident that the writers and artists Leisure responds to (Lina Loos, Cornelia Hahn Oberlander, Barbara Hepworth, Constance Spry, and Fran\u00e7oise Sullivan) have also used art as a way to understand living with others. Such performed\/performative dialogues begin with the seeking out of archival material created by these artists and remaking iterations of their works with changed materials and social settings. For instance, in the work Dualit\u00e9\/Dualit\u00e9<\/em> (2015), Leisure researched the Canadian choreographer Fran\u00e7oise Sullivan, whose dance piece Dualit\u00e9<\/em>(1948) had been performed and re- performed in different historical contexts, and with different bodies.<\/p>\n\n\n\nIn Leisure\u2019s hands, Sullivan\u2019s dance, which focused on the unified but evolving space between two dancers, is restaged in large-scale prints collaged from the dance footage and photographs. Leisure seeks to weave patterns of formal and psychological states \u2014 negotiations between multiple aspects of the self and other \u2014 by calling attention to the mirroring and doubling of figures and gestures within and between performances. In his study of the similarities between human mental processes and natural evolution, semiotician and social anthropologist Gregory Bateson developed the term abduction to refer to the \u201clateral extension of abstract components of description\u201d1<\/sup><\/a><\/span> 1 <\/a> - Gregory Bateson, Mind and Nature (New York: E.P. Dutton, 1979), 142.<\/span> . This mirroring of formal aspects in separate objects or ideas gives us \u201cmetaphor, dream, parable, allegory, the whole of art, the whole of science\u2026\u201d and is as much a cultural process as a natural one2<\/sup><\/a><\/span> 2 <\/a> - Ibid.<\/span> Reworking embodied forms of expression, Leisure uses the process of abduction to draw up relationships with the past that may be of use to the artists and their audiences today, much in the way that an ecosystem might select a repeated organization of information because of its evolutionary use. Not only is Leisure interested in the signalling gestures of human bodies expressed in these historical works, the artist duo also questions how the materiality of the archival object itself affects, gives access to, and relates a reading. Leisure asks \u201chow can an object translate a gesture?\u201d by mediating ephemeral and bodily events through documents and documentation. Thus, we see in the process of abduction the ability of forms to cross subject\/object and living\/nonliving boundaries, as a dance becomes a photographic print, and a print becomes an embodied emotional state.<\/p>\n\n\n\n<\/div>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2021\/07\/101-DO3-IMG1-IM_Williamson_leisure_dualite_install-shot_CMYK-C-845x1024.png\")
Leisure<\/strong>
Dualit\u00e9\/Dualit\u00e9<\/em>, 2015, installation view, Interpr\u00e9tations \u00e0 l\u2019\u0153uvre<\/em>, Ast\u00e9rides, Marseille, 2016.
Photo : jcLett, courtesy of the artists<\/figcaption><\/figure>\n\n\n\n<\/div>\n\n\n\nReaching out to others in Play (Similarity in difference)<\/strong><\/h2>\n\n\n\nIn her work on Gregory Bateson and other biosemioticians, semiotician Wendy Wheeler articulates how abduction, \u201cthe movement based on iconic signs (resemblance) whereby development is possible in the shift of meaning (or biological function) from one form to another similar one whereby difference is [ainsi] introduced,3<\/sup><\/a><\/span> 3 <\/a> - Wendy Wheeler, \u201cNatural Play, Natural Metaphor and Natural Stories\u201d in Material Ecocriticism, ed. Serenella Iovino and Serpil Oppermann (Bloomington: Indiana University Press, 2014), 70.<\/span> is performed or enacted throughout the natural world. Not only is all of nature semiotic and interpreted according to meaning-making processes (such as a bee reading flower colour as presence of pollen or a leaf interpreting touch as a threat), but nature uses play in its creation of new meaning. Biologist Jesper Hoffmeyer writes, \u201cThus, to the extent that the living world is engaged in an open-ended and nonsettled exploration of relationships between systems\u2026 it can truly be said that nature does, in fact, exhibit play-like behavior4<\/sup><\/a><\/span> 4 <\/a> - Jesper Hoffmeyer, \u00ab The Semiotic Niche \u00bb, Journal of Mediterranean Ecology, vol. 9 (2008), p. 5-30, accessible online.<\/span>” As an extension of nature\u2019s playful meaning-making processes, children\u2019s play readily shows us this exploration of similarity in difference. Educator Simon Nicholson espouses the basic human need to play in his article \u201cHow Not to Cheat Children: The Theory of Loose Parts.\u201d He writes, \u201cThere is evidence that all children love to interact with variables, such as materials and shapes; smells and other physical phenomena, such as electricity, magnetism and gravity; media [sic] such as gases and fluids; sounds, music, and motion; chemical interactions, cooking and fire; and other people, and animals, plants, words, concepts and ideas5<\/sup><\/a><\/span> 5 <\/a> - Simon Nicholson, \u201cHow Not to Cheat Children: The Theory of Loose Parts,\u201d Landscape Architecture 62 (1971): 30-34.<\/span>. “<\/p>\n\n\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2021\/07\/101-DO3-IMG2-IM_Williamson_Leisure_PanningforGold_CMYK-1024x684.jpeg\")
Leisure<\/strong>
Panning for Gold,<\/em> installation view
Mus\u00e9e d\u2019art de Joliette, 2017.
Photo : courtesy of the artists & Mus\u00e9e d\u2019art de Joliette<\/figcaption><\/figure>\n<\/div>\n\n\n\n\n<\/div>\n\n\n\nTaking Nicholson\u2019s social treatise as conceptual material for many of their works, Leisure\u2019s Panning for Gold<\/em>(2017) delineates a space for play in the art gallery, in which visitors of all ages can freely manipulate the material variables of notched wood beams and natural wood pieces. Leisure mentions the pre-givenness of some conceptual associations within the pieces of wood, which have been cut into architectural forms such as a door lintel or window frame corresponding to standard wall proportions, but also observes that some experimental decisions were based in the wood\u2019s material and texture. Writing about the model for the work, An Environment for Creative Play and Learning<\/em> designed by Canadian land- scape architect Cornelia Hahn Oberlander for Expo 67, Leisure admires how Oberlander\u2019s seemingly simple environment comprising a \u201cstretch of mounds, sand and water\u201d presented near-infinite possibilities for experimentation. With no prompts or instructions except to play, visitors to such environments interpret objects and materials for possible narrative, formal, or interactive potential based on similarities between the pre-given qualities of the material and their own ideas or desires.<\/p>\n<\/div>\n<\/div>\n\n\n\n<\/p>\n\n\n\n
In another work, String Games<\/em> (2020), the invitation to play involved the preparation of the gallery space with hooks and ropes. Participants variously interpreted the materiality of rope: its linear dimension as space-making, distance-measuring, or boundary-making potential; its various tensions as weight-bearing and kinetic potential; and its flexibility for forming webs or wrapping around players. Rope itself already being a relation or interpretation between humans and nonhuman materials (plastic, hemp, cotton, and others), it lends itself to certain human meanings and uses. Importantly, recognizing the anthropomorphic element in play does not, however, enclose objects or others within an anthropocentric vision or action. One may see oneself in another object or material as a form of relating to it and creating mutual connection, as in totemic cosmologies of kinship among species, geographies, and natural forces. As Wheeler quotes Maxine Sheets-Johnstone, \u201cReading humanness out of nature\u2026 consistently exalt[s] the measure of humans: humans become special creations.\u201d6<\/sup><\/a><\/span> 6 <\/a> - Maxine Sheets-Johnstone, \u201cTaking Evolution Seriously: A Matter of Primate Intelligence,\u201d Etica & Animali 8 (1996): 119. (our translation)<\/span>. The taboo against anthropomorphism denies the act of creative abduction or the drawing of metaphors that link humans to the rest of nature, as well as the fact that nonhuman nature itself creates and uses metaphors. Rather, play is a negotiation that must involve a certain aware- ness of the material or living others in order to form novel relations that \u201cfit7<\/sup><\/a><\/span> 7 <\/a> - Bateson describes the evolution of a cross-species interaction (play) between human and dolphin in which there has been a \u201clearning process\u201d and a \u201cchange in bound- aries\u201d as both species exchange information about each other. Bateson, Mind and Nature, 138.<\/span> and thus cannot maintain the human at the centre. A rope would not be possible without strong but flexible plant fibres lending themselves to this potential use \u2014 a use that is then interpreted differently from species to species. Simultaneous with this fitting, play understands that definitions and hierarchies are malleable and temporary: an other is recognized as an other in becoming.<\/p>\n\n\n\n![\"\"](\"https:\/\/esse.ca\/wp-content\/uploads\/2021\/07\/101-DO3-IMG3-IM_Williamson_Leisure_string-games_01_CMYK-C-1024x684.jpeg\")
Leisure<\/strong>
String Games<\/em>, installation view, The Contemporary Art Gallery, Vancouver, 2020.
Photo : Four Eyes Portraits, courtesy of the artist & The Contemporary Art Gallery, Vancouver <\/figcaption><\/figure>\n\n\n\nIn Leisure\u2019s participatory installations, such as Panning for Gold<\/em> and String Games<\/em>, not only does a fitting together take place between individuals and materials, but systems or relationships are constantly formed, unformed, and reformed collectively by the multiple hands tying and untying strings, building shelters, or forming paths. One could see String Games<\/em> as a giant game of cat\u2019s cradle. Such a game, in Donna Haraway\u2019s reading,8<\/sup><\/a><\/span> 8 <\/a> - Donna J. Haraway, Staying with the Trouble (Durham: Duke University Press, 2016).<\/span>allows for responsive and tentative patterns of interactions among players, which are greatly needed today as a model for cohabitation on Earth. Such patterns involve creative experimentation that \u201cnon-innocently\u201d responds to tangled and troubled histories of conflict and colonialism \u2014 how we are all tied in the knots. In line with this sensibility about troubled times, Leisure understands the struggle between individual and collective in these works as key to unbuilding and rebuilding futures in which social and environmental systems are aligned. Such tensions are untangled through what Bateson calls a \u201cdouble description,\u201d or double requirement, between individual and environment. That is, a new pattern for living \u201cmust fit the organism\u2019s internal demands for coherence and it must fit the external requirements of environment.9<\/sup><\/a><\/span> 9 <\/a> - Gregory Bateson, op.cit., p. 144.<\/span> \u201d As natural selection recounts the experimentation of relations within given sets of possibilities afforded by individual and environment, our creative play and experimentation in social systems would create new ties and new string figures between individuals and collectives. Considering works such as these, which propose play as a platform for discovering shared worlds, one could envision city planning and government bodies built through an evolutive, collective process of responsive play.<\/p>\n\n\n\n\u201cArt leads us to environment by doing, interacting with, things and ideas,\u201d says a girl appearing in video documentation of Simon Nicholson\u2019s \u201cArt and Environment\u201d<\/em> Open University course.10<\/sup><\/a><\/span> 10 <\/a> - Accessible online 61-66<\/span>. Leisure will take these words to (in)form an upcoming project, Having Ideas by Handling Materials<\/em>, planned for a group exhibition considering child publics. This title also succinctly conveys Leisure\u2019s collaborative studio practice and longstanding desire to undo \u201cthe idea of the artist as sole author or \u2018hand\u2019 in an art process11<\/sup><\/a><\/span> 11 <\/a> - Personal communication with the artists, June 25, 2020.<\/span> .\u201d Leisure looks for ways to blur or multiply the \u201chand(s)\u201d by working with materials and processes that determine or influence outcomes. The 2019 work Airing (Dirty Laundry)<\/em> began in relation, as Carruthers and Wesley let themselves be led through a berry-plush landscape by both a forager and the aesthetic lure of the berries themselves.12<\/sup><\/a><\/span> 12 <\/a> - For a discussion of \u201caesthetic lure\u201d and \u201cangiosperm aesthetics,\u201d see Deborah Bird Rose, \u201cShimmer: When All You Love Is Being Trashed,\u201d in Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, eds. Anna Lowenhaupt Tsing, Heather Anne Swanson, Elaine Gan, and Nils Bubandt (Minneapolis: University of Minnesota Press, 2017), G51-G63.<\/span>. Following this sensual communication between plant and human life, the artists used the berries to dye fabric with their vibrant pink and blue anthocyanin pigments. After years held in storage, the active pigments exhibited their relation to time and oxygen. This change by material agents then became the defining material\/meaning of the work itself. The fading of bright juicy colours to browns, ochres, and other tones of earth or soil- age mirrors the processes of time and change beyond our control, our collective dirt, and our spills \u2014 but it also mirrors our intertwined being.<\/p>\n\n\n\nStaying with the dirt and the disappearance of this work, paying attention to what the materials themselves can say and do (allowing this to matter), Leisure models a futuring that is not controlled but allows a certain responsiveness and play. In times that prove that human being is not and never was detached from relation or set on its own path of world-making, reading our relations to the rest of the material world creates spaces for encounter and participation. Being led to the environment through attention, play, interpretation, and negotiation, Leisure handles and shares the tools for living together \u2014 tools inherent to becoming within an interpretive and creative cosmos.<\/p>\n\n\n\n
<\/p>\n\n\n\n
<\/p>\n
In Leisure\u2019s hands, Sullivan\u2019s dance, which focused on the unified but evolving space between two dancers, is restaged in large-scale prints collaged from the dance footage and photographs. Leisure seeks to weave patterns of formal and psychological states \u2014 negotiations between multiple aspects of the self and other \u2014 by calling attention to the mirroring and doubling of figures and gestures within and between performances. In his study of the similarities between human mental processes and natural evolution, semiotician and social anthropologist Gregory Bateson developed the term abduction to refer to the \u201clateral extension of abstract components of description\u201d1<\/sup><\/a><\/span> 1 <\/a> - Gregory Bateson, Mind and Nature (New York: E.P. Dutton, 1979), 142.<\/span> . This mirroring of formal aspects in separate objects or ideas gives us \u201cmetaphor, dream, parable, allegory, the whole of art, the whole of science\u2026\u201d and is as much a cultural process as a natural one2<\/sup><\/a><\/span> 2 <\/a> - Ibid.<\/span> Reworking embodied forms of expression, Leisure uses the process of abduction to draw up relationships with the past that may be of use to the artists and their audiences today, much in the way that an ecosystem might select a repeated organization of information because of its evolutionary use. Not only is Leisure interested in the signalling gestures of human bodies expressed in these historical works, the artist duo also questions how the materiality of the archival object itself affects, gives access to, and relates a reading. Leisure asks \u201chow can an object translate a gesture?\u201d by mediating ephemeral and bodily events through documents and documentation. Thus, we see in the process of abduction the ability of forms to cross subject\/object and living\/nonliving boundaries, as a dance becomes a photographic print, and a print becomes an embodied emotional state.<\/p>\n\n\n\n In her work on Gregory Bateson and other biosemioticians, semiotician Wendy Wheeler articulates how abduction, \u201cthe movement based on iconic signs (resemblance) whereby development is possible in the shift of meaning (or biological function) from one form to another similar one whereby difference is [ainsi] introduced,3<\/sup><\/a><\/span> 3 <\/a> - Wendy Wheeler, \u201cNatural Play, Natural Metaphor and Natural Stories\u201d in Material Ecocriticism, ed. Serenella Iovino and Serpil Oppermann (Bloomington: Indiana University Press, 2014), 70.<\/span> is performed or enacted throughout the natural world. Not only is all of nature semiotic and interpreted according to meaning-making processes (such as a bee reading flower colour as presence of pollen or a leaf interpreting touch as a threat), but nature uses play in its creation of new meaning. Biologist Jesper Hoffmeyer writes, \u201cThus, to the extent that the living world is engaged in an open-ended and nonsettled exploration of relationships between systems\u2026 it can truly be said that nature does, in fact, exhibit play-like behavior4<\/sup><\/a><\/span> 4 <\/a> - Jesper Hoffmeyer, \u00ab The Semiotic Niche \u00bb, Journal of Mediterranean Ecology, vol. 9 (2008), p. 5-30, accessible online.<\/span>” As an extension of nature\u2019s playful meaning-making processes, children\u2019s play readily shows us this exploration of similarity in difference. Educator Simon Nicholson espouses the basic human need to play in his article \u201cHow Not to Cheat Children: The Theory of Loose Parts.\u201d He writes, \u201cThere is evidence that all children love to interact with variables, such as materials and shapes; smells and other physical phenomena, such as electricity, magnetism and gravity; media [sic] such as gases and fluids; sounds, music, and motion; chemical interactions, cooking and fire; and other people, and animals, plants, words, concepts and ideas5<\/sup><\/a><\/span> 5 <\/a> - Simon Nicholson, \u201cHow Not to Cheat Children: The Theory of Loose Parts,\u201d Landscape Architecture 62 (1971): 30-34.<\/span>. “<\/p>\n\n\n\n Taking Nicholson\u2019s social treatise as conceptual material for many of their works, Leisure\u2019s Panning for Gold<\/em>(2017) delineates a space for play in the art gallery, in which visitors of all ages can freely manipulate the material variables of notched wood beams and natural wood pieces. Leisure mentions the pre-givenness of some conceptual associations within the pieces of wood, which have been cut into architectural forms such as a door lintel or window frame corresponding to standard wall proportions, but also observes that some experimental decisions were based in the wood\u2019s material and texture. Writing about the model for the work, An Environment for Creative Play and Learning<\/em> designed by Canadian land- scape architect Cornelia Hahn Oberlander for Expo 67, Leisure admires how Oberlander\u2019s seemingly simple environment comprising a \u201cstretch of mounds, sand and water\u201d presented near-infinite possibilities for experimentation. With no prompts or instructions except to play, visitors to such environments interpret objects and materials for possible narrative, formal, or interactive potential based on similarities between the pre-given qualities of the material and their own ideas or desires.<\/p>\n<\/div>\n<\/div>\n\n\n\n <\/p>\n\n\n\n In another work, String Games<\/em> (2020), the invitation to play involved the preparation of the gallery space with hooks and ropes. Participants variously interpreted the materiality of rope: its linear dimension as space-making, distance-measuring, or boundary-making potential; its various tensions as weight-bearing and kinetic potential; and its flexibility for forming webs or wrapping around players. Rope itself already being a relation or interpretation between humans and nonhuman materials (plastic, hemp, cotton, and others), it lends itself to certain human meanings and uses. Importantly, recognizing the anthropomorphic element in play does not, however, enclose objects or others within an anthropocentric vision or action. One may see oneself in another object or material as a form of relating to it and creating mutual connection, as in totemic cosmologies of kinship among species, geographies, and natural forces. As Wheeler quotes Maxine Sheets-Johnstone, \u201cReading humanness out of nature\u2026 consistently exalt[s] the measure of humans: humans become special creations.\u201d6<\/sup><\/a><\/span> 6 <\/a> - Maxine Sheets-Johnstone, \u201cTaking Evolution Seriously: A Matter of Primate Intelligence,\u201d Etica & Animali 8 (1996): 119. (our translation)<\/span>. The taboo against anthropomorphism denies the act of creative abduction or the drawing of metaphors that link humans to the rest of nature, as well as the fact that nonhuman nature itself creates and uses metaphors. Rather, play is a negotiation that must involve a certain aware- ness of the material or living others in order to form novel relations that \u201cfit7<\/sup><\/a><\/span> 7 <\/a> - Bateson describes the evolution of a cross-species interaction (play) between human and dolphin in which there has been a \u201clearning process\u201d and a \u201cchange in bound- aries\u201d as both species exchange information about each other. Bateson, Mind and Nature, 138.<\/span> and thus cannot maintain the human at the centre. A rope would not be possible without strong but flexible plant fibres lending themselves to this potential use \u2014 a use that is then interpreted differently from species to species. Simultaneous with this fitting, play understands that definitions and hierarchies are malleable and temporary: an other is recognized as an other in becoming.<\/p>\n\n\n\n In Leisure\u2019s participatory installations, such as Panning for Gold<\/em> and String Games<\/em>, not only does a fitting together take place between individuals and materials, but systems or relationships are constantly formed, unformed, and reformed collectively by the multiple hands tying and untying strings, building shelters, or forming paths. One could see String Games<\/em> as a giant game of cat\u2019s cradle. Such a game, in Donna Haraway\u2019s reading,8<\/sup><\/a><\/span> 8 <\/a> - Donna J. Haraway, Staying with the Trouble (Durham: Duke University Press, 2016).<\/span>allows for responsive and tentative patterns of interactions among players, which are greatly needed today as a model for cohabitation on Earth. Such patterns involve creative experimentation that \u201cnon-innocently\u201d responds to tangled and troubled histories of conflict and colonialism \u2014 how we are all tied in the knots. In line with this sensibility about troubled times, Leisure understands the struggle between individual and collective in these works as key to unbuilding and rebuilding futures in which social and environmental systems are aligned. Such tensions are untangled through what Bateson calls a \u201cdouble description,\u201d or double requirement, between individual and environment. That is, a new pattern for living \u201cmust fit the organism\u2019s internal demands for coherence and it must fit the external requirements of environment.9<\/sup><\/a><\/span> 9 <\/a> - Gregory Bateson, op.cit., p. 144.<\/span> \u201d As natural selection recounts the experimentation of relations within given sets of possibilities afforded by individual and environment, our creative play and experimentation in social systems would create new ties and new string figures between individuals and collectives. Considering works such as these, which propose play as a platform for discovering shared worlds, one could envision city planning and government bodies built through an evolutive, collective process of responsive play.<\/p>\n\n\n\n \u201cArt leads us to environment by doing, interacting with, things and ideas,\u201d says a girl appearing in video documentation of Simon Nicholson\u2019s \u201cArt and Environment\u201d<\/em> Open University course.10<\/sup><\/a><\/span> 10 <\/a> - Accessible online 61-66<\/span>. Leisure will take these words to (in)form an upcoming project, Having Ideas by Handling Materials<\/em>, planned for a group exhibition considering child publics. This title also succinctly conveys Leisure\u2019s collaborative studio practice and longstanding desire to undo \u201cthe idea of the artist as sole author or \u2018hand\u2019 in an art process11<\/sup><\/a><\/span> 11 <\/a> - Personal communication with the artists, June 25, 2020.<\/span> .\u201d Leisure looks for ways to blur or multiply the \u201chand(s)\u201d by working with materials and processes that determine or influence outcomes. The 2019 work Airing (Dirty Laundry)<\/em> began in relation, as Carruthers and Wesley let themselves be led through a berry-plush landscape by both a forager and the aesthetic lure of the berries themselves.12<\/sup><\/a><\/span> 12 <\/a> - For a discussion of \u201caesthetic lure\u201d and \u201cangiosperm aesthetics,\u201d see Deborah Bird Rose, \u201cShimmer: When All You Love Is Being Trashed,\u201d in Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, eds. Anna Lowenhaupt Tsing, Heather Anne Swanson, Elaine Gan, and Nils Bubandt (Minneapolis: University of Minnesota Press, 2017), G51-G63.<\/span>. Following this sensual communication between plant and human life, the artists used the berries to dye fabric with their vibrant pink and blue anthocyanin pigments. After years held in storage, the active pigments exhibited their relation to time and oxygen. This change by material agents then became the defining material\/meaning of the work itself. The fading of bright juicy colours to browns, ochres, and other tones of earth or soil- age mirrors the processes of time and change beyond our control, our collective dirt, and our spills \u2014 but it also mirrors our intertwined being.<\/p>\n\n\n\n Staying with the dirt and the disappearance of this work, paying attention to what the materials themselves can say and do (allowing this to matter), Leisure models a futuring that is not controlled but allows a certain responsiveness and play. In times that prove that human being is not and never was detached from relation or set on its own path of world-making, reading our relations to the rest of the material world creates spaces for encounter and participation. Being led to the environment through attention, play, interpretation, and negotiation, Leisure handles and shares the tools for living together \u2014 tools inherent to becoming within an interpretive and creative cosmos.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n
Dualit\u00e9\/Dualit\u00e9<\/em>, 2015, installation view, Interpr\u00e9tations \u00e0 l\u2019\u0153uvre<\/em>, Ast\u00e9rides, Marseille, 2016.
Photo : jcLett, courtesy of the artists<\/figcaption><\/figure>\n\n\n\nReaching out to others in Play (Similarity in difference)<\/strong><\/h2>\n\n\n\n
Panning for Gold,<\/em> installation view
Mus\u00e9e d\u2019art de Joliette, 2017.
Photo : courtesy of the artists & Mus\u00e9e d\u2019art de Joliette<\/figcaption><\/figure>\n<\/div>\n\n\n\n
String Games<\/em>, installation view, The Contemporary Art Gallery, Vancouver, 2020.
Photo : Four Eyes Portraits, courtesy of the artist & The Contemporary Art Gallery, Vancouver <\/figcaption><\/figure>\n\n\n\n