Galleries

AI Collaborations

Bits from my fiction interpreted into images by Dall-E and Text2Art. An ongoing experiment in human/AI “collaboration”

The Grinder hungers for the rare blue jewel but cannot find it…

The strange glow in the stone catches their attention as it rolls to a stop almost, slowly it hits the far wall and bounces back right to Elizabeth’s foot. 

There is a grey rocky outcrop, with cracks in the stone, the rock is mottles with faded circles of weakened lichen, as if they too, had dreamed the night

There is a grey rocky outcrop, with cracks in the stone, the rock is mottles with faded circles of weakened lichen, as if they too, had dreamed the night

There is a grey rocky outcrop, with cracks in the stone, the rock is mottles with faded circles of weakened lichen, as if they too, had dreamed the night

The Artist Project

For two years I painted and exhibited my work under aliases. I would approach galleries acting as the “artist’s” agent and set up exhibitions for these fake artists. Images, artist biographies, and artist statements accompanied each exhibit, along with a disclaimer. Later, the installation at the grunt gallery, in Vancouver, BC, Canada, involved a fake group exhibition with biographies, artist statements, photographs of the created artists, a disclaimer, and the paintings (I actually did those).

I am grateful to photographer, Rosmund Norbury, and models, Jude Marentette, Mark Harrower, and my mother, Dora Pente.

The Pierced Landscape

I invited the public to participate in this 2-day performance/installation. Participants attached one end of a length of black wool to one wall, pierced a hanging mylar painting with the threaded wool, and attached the other end to the other wall or floor. Eventually, the space became congested with lines of wool and the familiar space was reshaped into the pierced landscape.

I am grateful to the Coutts Library staff at the University of Alberta, Edmonton, AB, Canada for their support. Thanks also to the people who participated and/or visited the site.

The installation was covered by The Orange magazine in their Spring/Summer 2010 edition.

Televisual Manual

For one month I sat for 1/2 hour each day in front of a derelict television screen that was placed outdoors in a garden. Later, the installation at Malaspina Printmakers Gallery, Vancouver, BC, Canada, involved a series of photo-lithographed images that were taken from a still-shot of the video and progressively enlarged via a photocopier. Directives were embossed upon each one. As the viewers circulated the gallery, they saw the video and read instructions that blurred and/or highlighted the corporeal differences between viewing in a gallery and viewing a screen. A large map of the gallery space was drawn on one wall. At times, I sat in the gallery, viewing the video of myself.