Plié, 2016
Created for exhibition “In Search of the Light of the World” that is sponsored by Glasmalerei Peters Studio of Germany for the Centre Du Virail in Chartres France, Plié was built from strips of alternating blue and gold dichroic glass joined at 45 degree angles so that the reflections of the room are broken into …
Bit Memories, 2005
Installed at the Schmucker Gallery, Gettysburg College.
There is an electrical energy present whenever crowds are gathered. The atmosphere is “charged”. The molecules are vibrating in the empty space even after everyone has left. The only physical trace of what has gone on is the debris. Silence echoes where only a short time before there …
Wind Prayers, 2007
Gallery Stratford, Stratford, Ontario
“…a silent flight made up of stilled fluttering…” Peter Goddard for Toronto Star, August 2007
The sky is open, free and limitless. Bringing the sky indoors creates a window out to that limitless space of light and freedom. Each kite is a piece of sky and we are seeing the path of …
Weeping Light, 2007
Global Arts Village, Delhi, India
Weeping Light was created during a three month residency at the Global Arts Village in Delhi, India. The small silver discs normally sewn into women’s clothing are attached to the tip of each willow branch where they flicker and move with the slightest breeze. We are made more aware of the …
Head in the Clouds, 2005
Global Arts Village, New Delhi, India
This performance creates a moment of complete freedom. Freedom from colour, from caste, from hierarchies. The ‘sky’ is a metaphor for the universal connection across time and space: a symbol, everyone can identify as theirs. It is a personification of equality and beauty.
People from marginalized groups: ‘helpers/servants/sweepers’ …
Light Vibration, 2002
Marble, bronze, aluminum, lamp
Light Vibration was created for the Glenn Gould Award which was presented to Yo Yo Ma in Toronto in 2002. Behind the thin marble disc, a flame flickers in response to the vibrations of the music as it pushes the delicate currents of air. Gould’s love of the Far North shimmers as …
Shadow of Time, 2007
Shadow of Time reveals the passage of time through shadows and reflections.
Shot over a 24 hour period at the edge of a pond in New Delhi, wind and light play over the surface and into the depths of the water. Human sounds mingle with bird calls, rustling leaves, insects and croaking frogs. The world …
Wave, 2005
Created for the exhibition Bit Memories at the Schmucker Gallery, Gettysburg College, Gettysburg, Pennsylvania. Glass, monofilament, video projection.
Wave plays with the notion of time as it catches an ephemeral moment and stills it, makes it tangible. What was once a wave of liquid curling in a glass sphere is now the sphere’s broken bits held in space. …
Liquid Light, 2007-8
installed in Gallery Stratford, Ontario, Canada in 2007, Musee Nationale du Quebec through October 2008.
This installation draws our attention to the magic of water revealed through light. The copper kalash used here is a powerful element in Hindu temples in India, where it releases a drop of water at slow intervals onto a stone …
Nevertheless, 2004
Installation for the Provincetown Art Association and Museum,
Murchison Gallery, Provincetown, MA., June 2004.
The Edge of Chaos
A place at the edge of chaos allows for change, sensitivity and openness. It is a dynamic state. Science is coming to understand that there are self-organizing systems where complex and unpredictable substrates develop simple, large scale patterns. The whirlpool …
Brief as Water Falling, 2006
Brief as Water Falling is a meditation on the transient, the ephemeral, all that we cannot grasp. The work began with a video I’d taken on a hot summer’s day eighteen years ago when my then husband was spraying our three sons with water. The boys ran into the house and emerged with …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Lost Sense, 1998
Institute of Contemporary Culture, The Royal Ontario Museum, Toronto.
Widgery was invited by Howard Collinson, curator of the Institute of Contemporary Culture at the Royal Ontario Museum in Toronto to create an exhibition that responded to the vast collection of human artifacts and scientific specimens at the ROM. Lost Sense opened in February 1998 and was such …
Memory’s Minefield , 1994
Near the Earth (earth, grass)
Vanitas (9′ high fur covered stool, copper ring with fire)
Bath (resin, tintypes, light)
Reve (video projection, child’s bed, chiffon)
Unstring My Bones (plaster, sticks)
Memory’s Minefield , 1994
Near the Earth (earth, grass)
Vanitas (9′ high fur covered stool, copper ring with fire)
Bath (resin, tintypes, light)
Reve (video projection, child’s bed, chiffon)
Unstring My Bones (plaster, sticks)
Memory’s Minefield , 1994
Near the Earth (earth, grass)
Vanitas (9′ high fur covered stool, copper ring with fire)
Bath (resin, tintypes, light)
Reve (video projection, child’s bed, chiffon)
Unstring My Bones (plaster, sticks)
Memory’s Minefield , 1994
Near the Earth (earth, grass)
Vanitas (9′ high fur covered stool, copper ring with fire)
Bath (resin, tintypes, light)
Reve (video projection, child’s bed, chiffon)
Unstring My Bones (plaster, sticks)
Memory’s Minefield , 1994
Near the Earth (earth, grass)
Vanitas (9′ high fur covered stool, copper ring with fire)
Bath (resin, tintypes, light)
Reve (video projection, child’s bed, chiffon)
Unstring My Bones (plaster, sticks)
Don’t Touch/Please Touch, 1994
Collection of the Woodlawn Foundation. Blown glass, stainless steel, and mixed media, 24 x 180 x 12″.
Don’t Touch/Please Touch was created for the exhibition Survivors in Search of a Voice inaugurated at the Royal Ontario Museum in Toronto in 1995. The artists invited to participate in the exhibition met with breast cancer survivors and learned their …
