Series of cyanotypes (2011) conceptualizing the topography in and around the areas where the legendary Group of Seven painters created imagery of the natural landscape that was to become synonymous with Canadian identity.
Large-scale fiber-based black and white photograph (2010) linking the concept of a digital loss of information with the idea of a loss of a coherent cultural identity.
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Text-based wall installation seeking to address how the ‘objective’ results of web-based contemporary research tools such as Google are informed by the historical power structures from which the English language has disseminated.
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An installation piece from 2010 that uses humour and play to critically deconstruct heterosexist constructions of masculinity. In place of repressive structures and violent landscapes, a queer utopia is envisioned where army figurines can be used to imaginatively promote love and peace, rather than hatred and violence.
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Ongoing body of work engaging with the work of post-war male artists. Grand masculine gestures are simultaneously elevatedand deflated through large-format images and playful gestures.
Diptych from 2008 meditating on the role of the artist as both director and subject in the self-portrait as well as the possibilities and problematics of representation of human subjects in the digital age. Gender and body politics are herein addressed through engagement with the concept of the “lost boy” (the child that never grows up) from Peter Pan.
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Series of C-print photographs from 2007 addressing the legacy that the work of 19th-century portrait and landscape photographer William Notman has had on contemporary conceptualizations of Canadian identity.
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Series of black and white contemporary re-enactments of the exploits of teenage detective heros Frank and Joe Hardy that endeavor to reveal the latent sexual tension and campy gender play present in the narratives of these classic young reader novels (2007).
