1992 Acadia University Art Gallery, The Lark Ascending, Subject Matter: Contemporary Painting and Sculpture in Nova Scotia, Wolfville, NS
Sculptural components (stands, speaker cabinet), plywood, paint, light fixture, audio (continuously playing excerpt from "The Lark Ascending" by Ralf Vaughn Williams)
1994 Sternberk Augustinian Monastery Installation Symposium, Untitled, Sternberk, Czech Republic
Sculptural components (audio cabinet, speaker cabinet), electric cable, painted walls, audio (continuously playing recording of airplane approaching and receding)
Detail from above (speaker cabinet)
1995 Galerie Sans Nom, Art En Direct, Interior with musical Excerpt, Moncton, NB
Sculptural component (speaker cabinet), carpet, plastic, audio (continuously playing excerpt from Ralf Vaughn Williams' Sinfonia Anartica)
Detail from above (speaker cabinet)
1997 Interior with excerpt from "Summer" by Wendy Carlos, Port Hawkesbury, NS
Audio (continuously playing modified segment from "Summer")
2000 Owens Art Gallery, Mount Allison University, Off Site, Interior with photos, Sackville, NB
Digital print on paper
Detail from above
2001 Centre for Art Tapes, Earful Audio Festival, Untitled, Halifax, NS
Audio tape (continuously playing excerpt "The City" from soundtrack for Hitchcock's "Psycho" by Bernard Herrmann)
Site-Specific Installations (1992-2003)
Site-specific installations tended to depart somewhat from the formula described previously. In these, natural light replaced artificial, spaces, rather than enclosed were more exposed. The sites themselves were often abandoned business, mall or office spaces chosen as representative of a certain time period, usually 50’s and 60’s. As these pieces evolved they became more minimal with fewer parts. I would often hide or integrate the visible or audible elements in such a way as to free the viewer from the perceived obvious layer of the artist’s interventions. Later works might be best described as interiors with audio, or interiors with image.