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<img src="images/Maggie-1.png" alt="An image of a painting displayed on a green wall. The painting is a picture of a tan nude woman with short dark hair standing in front of a pink backdrop. She is holding a greyhound dog in her arms, which covers her chest. A second greyhound stands on its hind legs in front of her, center frame, obscuring her right leg. The picture ends at the women's knees, or the standing dog's torso. The woman and dogs were painted with the same range of colours, making it appear as though the three of them are made up of the same flesh.">
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<div class="control-text">Here, we have a piece by Maggie Higgins.
[[> Look closer|Maggie-Closer]]
[[> Read about the work |Maggie-Text]]
[[> Learn about the artist |Maggie-bio]]
[[> Look deeper|Maggie-Deeper]]
To continue, turn all the way to the right. The next works are on the far wall, also green, opposite where you first entered the space.
[[I'm ready!|Maggie-to-Winnie]]
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<p><p class="awesome">Maggie Higgins</p> is a carer of more-than-human worlds. She studies the world beyond her own biology, making space for kinship with animals——turning to other species for teachings, meaning, and insight. Higgins is a dedicated listener with a graceful ability to transmute her thoughts into visually eloquent narratives rooted in allegory. Operating skillfully within the chassis of painting and drawing, animals are often present and rendered with sensitivity in her works. Her relationship with Goose, a retired greyhound with whom she shares a home, is an account of kindred reciprocity. Versions of Goose feature often in Higgins’ work and, by the credit of the artist, an alliance of mutual deliverance has developed in the steady reliance their relationship yields. The lines of who-needs-who-most are beautifully blurred. In her work, <i>Feral I</i>, Higgins unsettles the familiar dynamic of owner and pet. Her work considers and dismisses the historical and cultural implications of domesticity for both dog and woman. Instead, Higgins offers an alternative where both species refute expectations, forging a new shared context of unbelonging to the domestic, and belonging with one another.
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<img src="images/Maggie-1.png" alt="An image of a painting displayed on a green wall. The painting is a picture of a tan nude woman with short dark hair standing in front of a pink backdrop. She is holding a greyhound dog in her arms, which covers her chest. A second greyhound stands on its hind legs in front of her, center frame, obscuring her right leg. The picture ends at the women's knees, or the standing dog's torso. The woman and dogs were painted with the same range of colours, making it appear as though the three of them are made up of the same flesh."></div>
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<div class="control-text">[[> Look closer|Maggie-Closer]]
[[> Learn about the artist |Maggie-bio]]
[[> Look deeper|Maggie-Deeper]]
[[> Go back|Maggie]]
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<img src="images/maggie-higgings-ferral-I.png" alt="An image of a painting displayed on a green wall. The painting is a picture of a tan nude woman with short dark hair standing in front of a pink backdrop. She is holding a greyhound dog in her arms, which covers her chest. A second greyhound stands on its hind legs in front of her, center frame, obscuring her right leg. The picture ends at the women's knees, or the standing dog's torso. The woman and dogs were painted with the same range of colours, making it appear as though the three of them are made up of the same flesh."></div>
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<i>Feral I</i>, Maggie Higgins, Oil and Enamel on Canvas, 36” x 48”, 2018</div>
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[[Go back|Maggie]]
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<div class="art-closer-solo"><center><img src="images/lookdeeper/Nails_Sliding-web-large.jpg" style="max-width:80%;" alt="A painting of a black greyhound on a light blue background with white text. The text is written in big handprinted letters, contouring the dog's frame, and reads: with one paw, trying the edges of the winter pond finding its waters solid, He advances, nails sliding, still far from home. The greyhound was drawn in a walking pose, mid-step, with its head pointed down towards the ground. Its mouth is open, perhaps panting?"></center>
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<i>Nails Sliding</i>, Maggie Higgins, 2019, Cyanotype and ink on paper, 18” x 24”</div>
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"This work was created during the pandemic, conceived during long walks through newly developed building lots as the winter unthawed. I was reading <u>Fifteen Dogs: An Apologue</u> by André Alexis. One of the dogs learns language and writes poetry, the others are wary of language——especially that which is not purely for function or survival. The text that surrounds the dog in <i>Nails Sliding</i> (a version of my greyhound, Goose) is a direct quote of one of these poems. I was thinking heavily at this time in the height of covid and isolation, about the idea of being “essential”. I was thinking about having so much time to be quiet, alone and creative and yet I was having a hard time creating anything at all. The long walks were a way to keep moving forward when I felt stuck. My dog guided me, decisive and driven on an uncertain path. She is a stranger in our world, isolated by language and species, as I am isolated now. Just the two of us, we are alone and together, untalking but tethered. Feeling lost when remembering the human world, I found relief in following her doubtless momentum as we walked over frozen excavator-tracks at a pace that felt purposeful."
——Maggie Higgins
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[[Next|Maggie-Deeper-2]]
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<p><p class="awesome">Maggie Higgins</p> is a multimedia artist, educator and mother based in Saint John, New Brunswick, which sits on the unceded territory of the Wolastoqiyik (Maliseet) and Mi’kmaq Peoples. Her work engages in the discussion of animal/human relationships and interactions, particularly the ways in which humans categorize and utilize animal species. Higgins holds a BFA from Mount Allison University (2014) and a BEd from the University of New Brunswick (2016). She has been honored with such recognitions as the Fred Ross Scholarship, Saint John Professional Visual Artist Fund Award, and The Originals Emerging Artist Award. Currently, Higgins works as a Foundation Visual Arts Instructor with the New Brunswick College of Craft & Design.</p>
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http://maggiehiggins.com/
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<div class="tooltip" style="text-align: center;">[[Close |Maggie]]</div>
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<img src="images/Maggie-1.png" alt="An image of a painting displayed on a green wall. The painting is a picture of a tan nude woman with short dark hair standing in front of a pink backdrop. She is holding a greyhound dog in her arms, which covers her chest. A second greyhound stands on its hind legs in front of her, center frame, obscuring her right leg. The picture ends at the women's knees, or the standing dog's torso. The woman and dogs were painted with the same range of colours, making it appear as though the three of them are made up of the same flesh."></div>
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<div class="control-text">[[> Look closer|Maggie-Closer]]
[[> Read about the work |Maggie-Text]]
[[> Look deeper|Maggie-Deeper]]
[[> Go back|Maggie]]
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</style><div id="intro"><div id="controlbox"><<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro"><p>Tap the bubble & scroll to read more ↓</p></div></div>
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<div class="intro-control-text">Welcome——thank you for visiting! My name is Amy. I am a curator and artist, but today I’ll be your guide as you experience HOST.
[[> Hey!|Welcome-2]]
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<span role="img" aria-label="A drawing of white woman with long brown hair, blue-green eyes and a green sweater appears in front of a light-colored background. This is Amy Ash, the curator. There's a dialogue box below her."></span>
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<div class="intro-control-text">What's your name?
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<div class="intro-control-text">Nice to meet you, $name !
I’m glad you’re here. There are a few things I’d like to tell you before we enter the exhibition… Are you using a desktop computer or a handheld device?
[[> Desktop|welcome-3]]
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<div class="intro-control-text">Now, look towards the top left corner of your screen——see that little pink glowing arrow button? Try clicking it. Perfect. Now you should see the <b>menu</b> along the left side of the page. At the very top of the menu, there are two little <b>navigation arrows</b>. You can use these to move back and revisit something, if you like. There’s much more in the menu to explore, so we’re going to go through it together bit by bit. But, for now, close the menu by clicking the pink arrow button again, and let me know when you’re done.
[[> Done!|Welcome-5]]
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<span role="img" aria-label="A pink book with the title ‘HOST’ appears in the center of the screen with a hand-drawn spiral behind it. Dialogue appears in the dialogue box below Amy."></span>
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<div class="intro-control-text">This is the <b>exhibition text</b>. You can access it by visiting the <b>essay</b> page in the <b>menu</b> after our time together. From there, you’ll be able to read it online or download the pdf to print it at home.
[[> Cool, thanks!|Welcome-6]]
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<div class="intro-control-text">Also, at any time during our visit, you can click on the <b>location pin</b> in the top right hand corner or the screen. It will show you your location within the gallery. There’s also a gallery <b>floorplan</b> in the <b>menu</b> with shortcuts to each area of the gallery, so you can revisit specific areas, if you wish to.
[[> Got it.|Welcome-6.5]]
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<<fadein 1s>><div class="locationpin" style="margin-top: -45px;"><a data-passage="fp-intro" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
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<div class="intro-control-text">Now, I’d love to tell you a bit about the exhibition! Ready to get started?
[[> Absolutely!|Introduction]]
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<center><h2>Introduction</h2></center>
<p>Host is a progeny of the Latin word <i>hospes</i>, which refers to a person who receives a guest and the guest, stranger, or visitor themselves. The fluidity of this definition is significant in relation to customs of reciprocity: a person serving as a guest on one occasion would act as a host on another occasion.<sup>1</sup> Host is also a term for an organism which sustains the life of another, sometimes consensually, but oftentimes not. Whether in digital, spatial, community, science fiction, or biological terms, a host is the body relied upon for providing nourishment, care, or communication. Contemporary connotations of the word host, along with its many derivatives, refer to a vast web of meanings——a plethora (which itself is a synonym for host) of polarities and nuances. This project understands the term ‘host’ through its many definitions which link species, place, time, and machine. Thus it becomes a device with which to explore complex relationships in more-than-human worlds.<sup>2</sup>
HOST is a borderless project, bringing together works by eleven contemporary artists who offer glimmers of reciprocity mirroring those inherent in the title’s root word hospes.
Together rudi aker, Anna Binta Diallo, Séamus Gallagher, Maggie Higgins, Emily Kennedy, Caroline Monnet, respectfulchild, Lou Sheppard, Rachel M Thornton, Winnie Truong, and KC Wilcox reveal a complex rhizome of connectivity in the spirit of kinship.<sup>3</sup> Against the backdrop of a particularly inhospitable present, HOST conveys a pluriversal<sup>4</sup> study of relationships and care——places where mutual understanding, appreciation, and hope take root amid the tangle of contemporary issues.
I began the work of conceptualizing HOST before bodies around the world became carriers of a fast-spreading virus that forced us to rapidly adjust the ways in which we gather and enact community. My initial concerns for the project were rooted firmly in exploring the power of hospitality and xenophilia to subvert the rise of far right politics and subsequent hostility, divisiveness, and destruction. I hoped to eke out and magnify instances of care, reciprocity, and kinship as an act of resistance against xenophobia, tightening borders, and the escalating climate crises.
While HOST still enfolds these initial aims, it has the added layer of operating as an act of care in and of itself: care in seeing that artists are valued and paid; care connecting artists with one another and with audiences; and care in making contemporary art accessible for meaningful engagement in a time when many traditional spaces are closed.</p>
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<center>[[Continue|Floorplan-Intro]]</center>
<h6><i>1 https://www.merriam-webster.com/dictionary/host
2 Abram, David, The Spell of the Sensuous : Perception and Language in a More-than-Human World. New York :Pantheon Books, 1996
3 Haraway, Donna J, Staying with the Trouble: Making Kin in the Chthulucene. Durham; London: Duke University Press, 2016.(102)
4 Escobar, Arturo, Designs for the pluriverse : radical interdependence, autonomy, and the making of worlds. Durham ; London : Duke University Press, 2018.</i></h6>
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<div class="intro-control-text">Your experience of HOST will be more immersive in full screen. In your browser's menu, at the top of your screen, look under <b>View</b>, and try going full screen by pressing <b>Enter Full Screen</b>. (Chrome, Safari, Opera, Edge & Firefox: <i>View > Enter Full Screen</i>). Or, try pressing ^⌘F on Mac or F11 on PC.
Don't forget to turn off your toolbar. (Chrome, Opera, Edge & Safari: <i>View</i> > untick <i>Always show toolbar in full screen</i>. Firefox: right click the toolbar > press <i>hide toolbars</i>.)
[[> Neat.|welcome-4]]
<p style="font-size:11px;">Note: HOST is untested on Internet Explorer.</p>
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<center><h1>COLLECTIVE CARE:</h1><h2>Dismantling hierarchy in human communities</h2></center></div><div id="delay-fade-in"><h3>In its many functions, the word <p class="awesome">HOST</p> is indicative of an instance of bodies or components coming together. In the work of <p class="awesome">Lou Sheppard</p>, <p class="awesome">rudi aker</p>, and <p class="awesome">respectfulchild,</p> possibilities of new forms of congregation emerge to cultivate emancipatory togetherness.</h3></div>
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<span role="img" aria-label="You are enveloped in the magical fog. Words written in big letters appear before you. The letters in the artist's names change colours."></span><<nobr>>
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body {
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div id="exhibition">
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<img src="images/Lou-wall.png" alt="Five artworks by Lou Sheppard hang in a row on a pink wall."> </div>
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<div class="floor"> </div>
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<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">Here, we have a new series of work by Lou Sheppard.
[[> Look closer|Lou-Closer]]
[[> Read about the work|Lou-Text]]
[[> Learn about the artist|Lou-bio]]
<<if not hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper-Introduction]]<</if>><<if hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper]]<</if>>
To view the next piece in the exhibition, [[turn to your right.|Rudi-1]]
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<<fadein 1s>><div class="locationpin"><a data-passage="fp-lou" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>>
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position: fixed;
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="intro">
<video loop unmuted autoplay poster="img/videoframe.jpg" id="seamus-video"><source src="video/twinkle4.mp4" type="video/mp4">
</video></div>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Look away|Reading-Room]]
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<div id="fade-away"><div class="textbox-tooltip-desktop"><p>Make sure your volume is on</p></div></div><div id="fade-away"><div class="textbox-tooltip-intro"><p style="padding-top: 3px!important;">Turn your device into landscape & make sure your volume is on</p></div></div>
<span role="img" aria-label="You stand before the large window looking out towards an infinite starry sky."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rr" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="fade-away"><div class="textbox-tooltip-desktop"><p>click & hold to drag & expand</p></div></div>
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<div id="draggable" class="resizable"><div class="artist-text">
<p class="awesome">Lou Sheppard</p>’s work is an active system that responds to authoritative media, such as dictionaries, government research, policy, and environmental data. Their research uncovers uneven power structures and patterns of oppression in the language of commanding texts, and seeks alternative methods of communication. Their translations are at once playful, poetic and political. Sheppard creates choral and movement scores, installations, and performances to bring people together. Their recent performance and series of drawings <i>Murmurations: Scores for Social Distancing</i> responds to the utilitarian score of directional arrows that appeared in every public place during the pandemic. Leaning into the natural world as a teacher, Sheppard considers the possibility for collective movement through the flight patterning of birds. When birds flock in murmuration, they are operating as a whole organism——responsive to one another<a href="https://www.npr.org/sections/13.7/2017/01/04/506400719/video-swooping-starlings-in-murmuration" target="_blank" style="font-size: 12px;"><sup>5</sup></a>, no leaders, no followers, their awareness is one of complete reciprocity. In charting a human murmuration, Sheppard is choreographing an instance of collective care; care in keeping 6 feet apart, yes, but more importantly care in being part of a whole, a reminder of togetherness.
<div class="tooltip" style="text-align: center;">[[Close |Lou-1]]</div></div></div>
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<div class="art"> <img src="images/Lou-wall.png"> </div>
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<div class="floor"> </div>
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<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Lou-Closer]]
[[> Learn about the artist|Lou-bio]]
<<if not hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper-Introduction]]<</if>><<if hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper]]<</if>>
[[> Go back|Lou-1]]
</div>
</div>
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<div id="exhibition" style="margin-bottom: 200px;">
<div id="fade-away"><div class="textbox-tooltip-desktop"><p>Move around to examine</p></div></div><div id="fade-away"><div class="textbox-tooltip-intro"><p>Pinch to resize. Move around to examine.</p></div></div><div class="art-closer">
<img src="images/Lou-medium.png" style="margin-right: 100px;" alt="Five artworks by Lou Sheppard hang in a row on a pink wall.">
<div class="tooltip" style="color:#666973!important;">
<i>Murmurations: Scores for Social Distancing</i>, Lou Sheppard
<i>Murmurations (Sidewalk)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021
<i>Murmurations (Intersection)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021
<i>Murmurations (Park)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021
<i>Murmurations (Grocery Store)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021
<i>Murmurations (Flock)</i>, Lou Sheppard, Digital Drawing, 28cm x 28cm, 2020
</div>
</div>
<div id="controlbox">
<div class="control">
<div class="control-text">
[[> Look closer at Mumurations (Sidewalk)|Murmurations-I]]
[[> Go back|Lou-1]]
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<<nobr>>
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<img src="images/Lou-wall.png"> </div>
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<</nobr>>
<div id="controlbox">
<div class="intro-control">
<div class="intro-control-text"> Since this is a virtual gallery space, we can travel to places beyond the gallery by <p class="awesome">Looking Deeper</p>
[[> Woah, okay. Let's look deeper...|Lou-Deeper]]
[[> Go back|Lou-1]]
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</div>
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<video autoplay muted loop playsinline id="rudi-video">
<source src="video/rudi-clipl.mp4" type="video/mp4">
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<div id="exhibition"> <div class="rudi-wall"></div>
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<</nobr>>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Continue|Rudi-2]]
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</div>
<span role="img" aria-label="The end of the pink wall featuring Lou Sheppard’s artwork is on your left. Ahead, a white wall with light green trim shows a rectangular video screen playing a video of hands working with multicolored beads. The hands are using the beads to create something."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rudi" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>><style>
body {
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<video autoplay muted loop playsinline id="rudi-video">
<source src="video/rudi-clipw.mp4" type="video/mp4">
</video>
<div id="exhibition"><div id="draggable" class="resizable"><div class="artist-text">
<p class="awesome">rudi aker</p>’s intricate beadwork topographies, with accompanying text and videos, chart the experience of inhabiting space while also establishing placehood. Their new work <i>topographies of a homeplace: in care of</i> forges connection in spite of geographic barriers underscored by current restrictions in mobility due to the pandemic. Aker, originally from St. Mary’s First Nation in Sitansisk (Fredericton, NB) is currently based on Tiohtià:ke/Mooniyaang (Montreal, QC), and the first iteration of this new work is centred on a location that holds little personal meaning for aker: Menagoesg/Menahqesk (Saint John, NB). Distance requires aker to form a kinship of co-creation that will allow them to experience the placehood of Menagoesg/Menahqesk, from afar. Aker works closely with co-creator, Emily Saab, who is on the ground in Menagoesg/Menahqesk. Aker understands this place only through Saab’s guidance, connecting deeply enough to configure a “visioning of the journey”<sup>6</sup>. In this sense, both aker and their co-creator embody a shared sympoiesis——guest, host, and place in a reciprocal state of becoming together. Learning the experience of their co-creator, aker translates an unknown placehood into a beaded topography. In an act dedicated to breaking barriers that are geographic, cultural, and inter-personal, aker builds kinship through a trust in reciprocal hospitality.
<p></p>
<sup>6 aker, rudi. topographies of a homeplace: in care of, project description</sup>
<p></p>
<div class="tooltip" style="text-align: center;">[[Close |Rudi-2]]</div>
</div></div>
<div class="rudi-floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Rudi-Closer]]
[[> Learn about the artist |Rudi-Bio]]
[[> Look deeper|Rudi-Deeper]]
[[> Go back|Rudi-2]]
</div>
</div>
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<</script>>
<<script>>
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<</script>><style> body {
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</style><div class="video-frame-container"><iframe class="responsive-iframe" class="responsive-iframe" src="https://player.vimeo.com/video/544590336?autoplay=1&loop=1&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen alt="Video by ruki aker. This video is a timelapse, depicting the creation of aker's Topographies of a Homeplace. The video is a closeup of two hands placing coloured glass beads on wire, with a background of small glass beads of many colours on the surface below. The voice of Emily Saab describes directions for a place in Menahqesk (a.k.a. Saint John, New Brunswick, Canada.)"></iframe></div>
<script src="https://player.vimeo.com/api/player.js">
<div id="fade-away"><div class="textbox-tooltip-desktop"><p>Double click to the video to go into full screen</p></div></div><div id="fade-away"><div class="textbox-tooltip-intro"><p style="padding-top: 3px!important;">Turn your device into landscape & tap the video to go full screen</p></div></div>
<div class="tooltip" style="color:#666973!important; padding-bottom:150px;"><center><i>topographies of a homeplace: c/o Menahqesk</i>, rudi aker, in collaboration with Emily Saab, Video, 00:04:50, 2021
</center></div></div>
</div>
<div id="controlbox">
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<div class="control-text-mini">
[[Go back|Rudi-2]]
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</div>
<style>
body {
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background-image: url(images/floorplan-bg.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/rudi aker topographies of a homeplace in care of.jpg" alt="A photograph of a small sculpture made out of glass and plastic beads by rudi aker. The beads are gold, yellow-green, brown, silver and blue in colour, and are held together with wire and woven together to create a beaded sculpture. This piece is a visual beaded depiction of the directions from one place to another.">
<div class="tooltip" style="color:#666973!important; max-width: 750px; text-align: center; padding-bottom:200px; margin:auto;">
A closer look at the beaded topography created with care by rudi aker —— in trust and collaboration with Emily Saab.
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Rudi-Deeper-2]]
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</div><<nobr>>
<style>
body {
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background-size: cover;
background-repeat: no repeat;
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<div id="intro" style="position:absolute!important"><div id="bg-fade-away"><div class="bg-tracking-in-expand-2"><div class="intro-wall-table">
<div class="title-text"><div class="tracking-in-expand">
<center><h1>SYMBIOSIS:</h1><h2>Kinship in more-than-human worlds</h2></center></div><div id="delay-fade-in"><h3>Displays of kinship and reciprocity in more-than-human worlds flourish in the intimate works of <p class="awesome">Maggie Higgins</p> and <p class="awesome">Winnie Truong.</p></h3></div>
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</div>
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<</nobr>>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Continue|Maggie]]
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</div>
<span role="img" aria-label="A living mural made up of vivid colours painted against a green wall. Stripes of pink, indigo, blue and yellow undulate against the green. In the foreground, drawings of spirals, shapes and lines display a shimmering rainbow colour."></span><<nobr>>
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<<audio ":all" stop>>
<div id="exhibition">
<div class="wall">
<div class="art-rc"><img src="images/rc-1.png" alt="You are standing in front of a light grey wall painted with a large green wave. A large interactive panel is mounted to the center of the wall with a pair of black headphones, to its right. At the top of the panel, it reads; Host Family Potluck, the title of a written piece by respectfulchild. The subsequent paragraphs are too far away to read clearly."></div>
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<div class="floor"> </div>
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<div id="controlbox">
<div class="control">
<div class="control-text">This work is by respectfulchild.
To fully appreciate it, you’ll want to grab the headphones and [[look closer.|RC-Closer]]
Or,
[[> Read about this work|RC-text]]
[[> Learn about the artist |RC-bio]]
[[> Look deeper|RC-Deeper]]
When you're ready, let’s continue along the green wall. Does that sound ok?
[[> Sure!|Interlude-1]]
</div>
</div>
</div>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rc" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
body {
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.wall{
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background-repeat: no-repeat;
background-size: cover;
position: relative;
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.floor {
background-color: #0f0f1b;}
<link rel="preconnect" href="https://fonts.gstatic.com">
<link href="https://fonts.googleapis.com/css2?family=Anonymous+Pro:ital,wght@0,400;0,700;1,400;1,700&family=VT323&display=swap" rel="stylesheet">
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div id="draggable" class="resizable"><div class="artist-text">
<p>
<p class="awesome">respectfulchild</p> is an artist born, raised, and living as an uninvited guest on Treaty 6 Territory. Working in sound, performance, and interdisciplinary collaboration, their work explores the quiet tensions and chaotic beauty of being a queer Chinese settler on the prairies, ranging from spontaneous improvisation to meticulous composition.</p>
https://respectfulchild.com
<p></p>
<div class="tooltip" style="text-align: center;">[[Close |RC-1]]</div>
</div></div>
<div class="wall">
<div class="art-rc"><img src="images/rc-1.png" alt="You are standing in front of a light grey wall painted with a large green wave. A large interactive panel is mounted to the center of the wall with a pair of black headphones, to its right. At the top of the panel, it reads; Host Family Potluck, the title of a written piece by respectfulchild. The subsequent paragraphs are too far away to read clearly."></div>
</div>
<div class="floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|RC-Closer]]
[[> Read about this work|RC-text]]
[[> Look deeper|RC-Deeper]]
[[> Go back|RC-1]]
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<</script>><style>
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@import url('https://fonts.googleapis.com/css2?family=Noto+Sans:ital,wght@0,400;0,700;1,400;1,700&display=swap');
</style><div id="fade-away"><div class="textbox-tooltip" style="font-size: 12px;"><p>Make sure your sound is on & hit play</p></div></div><div id="rc-box"><div class="introduction-text">
<<fadein 5s>><h1 style="color:#272727; font-family: 'Noto Sans', sans-serif; "><audio controls autoplay loop preload="metadata" style=" width:250px;"><source src="https://hostproject.neocities.org/audio/Respectful%20Child%20HostFamilyPotluck.mp3" type="audio/mpeg">Your browser does not support the audio element.</audio>
<center>Host Family Potluck</center></h1>
<p style="color:#272727; font-family: 'Noto Sans', sans-serif;">This is a work of fiction.
<i>“Whoever we are and wherever we come from, we all bring something unique and important to Canada. Today, and every day, let’s celebrate multiculturalism and recognize the invaluable contributions that Canadians of all backgrounds have made, and continue to make, to our country.” </i>
<h6 style="font-weight:normal; font-family: 'Noto Sans', sans-serif;"> — Justin Trudeau, Statement by the Prime Minister on Canadian Multiculturalism Day, 2019</h6>
<i> “Multiculturalism has acquired a quality akin to spectacle. The metaphor that has displaced the melting pot is the salad. A salad consists of many ingredients, is colorful and beautiful, and it is to be consumed by someone. Who consumes multiculturalism is a question begging to be asked.” </i>
<h6 style="font-weight:normal; font-family:'Noto Sans', sans-serif; ">— Angela Y. Davis, Gender, class and multiculturalism: Rethinking “race” politics, 1996</h6>
It’s tonight. We all pile into the car to go to that brown carpeted church with the weird gym ceiling that looks like it’s the accumulation of 70 years worth of dust. Host Family Potluck: 50th Anniversary. Mom fried rice noodles: long thin strands stained light brown from the seasoning of dark soy sauce, with a rainbow of sliced vegetables and bits of egg. The building smells the same - I guess I’d call it: the stale air of hanging coats and hymn books. There must be at least 200 people here - probably because they’ve invited old alumni members like Dad and their families for the celebration. We do our polite greetings and head into the side room where all the food goes. Long plastic folding tables are covered with dishes of every shape, size, color, and smell. We manage to find a spot for Mom’s fried noodles by moving a potato salad and some bread rolls. It fits in perfectly.
We head into the gym to look for a place to sit - scanning for three vacant chairs at one of the round tables covered with a disposable tablecloth. A bunch of the kids are off playing in the room that has those big carpet blocks the church uses as risers - am I too old to join them? We wait til everyone is settled in a seat then the MCs lead everyone in saying grace - this is organized by the Christian group on campus afterall. CCFC. Cross-Cultural Faith Community. Helping to pair international students with Canadian families to support them with adjusting to their new life in Canada. Dad was one of those students.
<center>******************</center>
The Host Family Potluck has been going on since the early 70s. Back then, CCFC was known as FASC (Faith Alliance Students Congregation); they’re part of a larger network of campus Christian groups across the continent called the NAF (North American FASCs). Our local FASC was in danger of folding as their membership had dwindled to just eight. With so few people, they were having trouble paying their campus group fees and everyone was feeling pretty burnt out. On top of that, it was getting harder to raise enough funds to actively participate in NAF’s philanthropic activities and it had gotten to the point that other groups were actually donating to help them cover their fees for retreats and conferences. They were becoming the charity group, how embarrassing.
FASC’s president at the time came up with the great idea of inviting all the international students and local families (or let’s be real, their friends’ parents) together for a big supper. International students would be way easier to recruit, because most of them had come here alone and were already looking for a community to belong to. And it was pretty easy to pitch to the families, it felt great to help a student in need. It took a couple years to gain traction, but by the time Dad arrived the potluck was a full on feast. Membership had grown and many of the local families made annual handsome donations to support their operations. The potluck saved FASC.
<center>******************</center>
Five whole tables full of food this year. It’s almost overwhelming. They’ve actually rearranged all the dishes so that it’s like walking through a 5 course meal: bread and appetizers on the first table, soups and salads, mains, and finally an entire table of dessert. I see Mom’s fried noodles with the appetizers...they tried I guess.
“I think salads are my favourite!...when they’re done right. The right combination of ingredients, nothing overpowering or annoying or difficult..like raw onions or pomegranate seeds. Just a perfectly balanced mouthful every time.”
“Ooh, what’s this! It looks like someone’s been a bit adventurous and made something fusion. A kimchi bacon cheddar quiche. I can’t wait to try this, it’s still familiar, but with that little twist to make it special.”
The family behind me are pointing out the dishes they brought tonight. Roast potatoes and a taco casserole. They ask their host student what he brought and he points at a greek salad. “Ahaha!” they chuckle, “But why did you make something Greek? You’re from Kenya!”
There are at least six different curries on the third table: a Thai green curry, two types of daal, chana masala, a seafood curry, and a goat curry. One of the dads cracks a joke, “Uh oh! We better watch out before our potluck gets taken over by curry!” There are also nine pasta dishes on that same table.
“What is this?”
“Mm… I don’t know what it’s called in English, but basically it’s like a sweet soup with red bean in coconut milk.”
“Oh, strange… I would never consider a soup with beans a dessert.”
<center>******************</center>
Honestly, the potluck was a genius idea for so many reasons. FASC could barely afford to pay for their regular events, let alone start hosting something new. But with a potluck all they had to provide was a space and the guests took care of the meal. Low cost, big pay off! You don’t even have to be a good cook when you’re hosting because all the people attending will take care of supplying the flavour. Plus inviting the foreign students meant getting to sample lots of tasty international food, for free. The potluck gave them an opportunity to share a piece of their culture and the locals got to try something new. Win-win.
There was also this slightly uncomfortable bit of history that the potluck helped smooth over. In the 60s, there had been this scandal that rippled across the NAF. It was about this annual event that they all participated in called “Do You Dare”, spearheaded by an FASC in the States. It was a fundraiser that challenged people to “eat gross foods from around the world” in a Fear Factor style. Except, all these “challenging foods” only came from non-European countries... I don’t remember how the news surfaced, but once it did it was in the headlines for weeks. Words like “insensitive”, “offensive”, and even “racist” came to be associated with all of the NAF groups.
Needless to say, that was one of the main reasons why CCFC membership had become so small. Targeting international students was a brilliant move since none of them knew about the scandals from a decade ago. And involving them with food in a positive setting was the rebranding the group needed. The news outlets loved it:
“Local group gives foreign students home away from home”
“Campus students host international feast”
“Global Harmony: how one group is building cultural bridges, one meal at a time”
Who could call them insensitive or racist if they were inviting people from around the world to eat together and join their group? This was a reset and in 1980, FASC renamed themselves the Cross-Cultural Faith Community to reflect the group’s new identity and show how different they were from the other FASCs.
<center>******************</center>
As we sit down to dig into the colourful mishmash on our plates, little snippets around the room jump out of the general buzz of light mealtime conversation.
“You kids all make such interesting dishes! I just brought a plain old pasta salad, nothing like the exciting flavours you cook with.”
“What’s this called again?”
“Kare kare, it’s Filipino.”
“Kare kare... Well now I can say I’ve eaten Filipino food! Along with Lebanese, Thai, Sri Lankan, and...G-Ghanese? Ghanaian? Anyway, it’s like I’m travelling without having to leave the comfort of home!”
One of the kids at the table across from us is forcefully mixing everything on their plate into what’s quickly turning into a grey mash. Their parent is trying to scold them, “Stop being so rough! You’re ruining the food.” The kid pipes back, “But isn’t it all the same in our tummies anyways?”
“Be polite, eat your meal nicely.”
From the table beside me my ears get sucked into a conversation between two hosts, talking about how some of the students are only excited to eat the food from their home countries.
“You know, I used to be like that. I would only eat what I knew I already liked, I used to be so narrow-minded! But I grew out of that phase, I’d say I have quite an adventurous palate now.”
“Oh you definitely do, you even tried that blood sausage when you went to Uruguay, so brave of you. Yeah, these young people really need to realize, they’re in Canada now, they’re going to have to get used to trying new things, they’re a long way from home.”
“And you know, I’ve heard from a few other families that the students they get paired with can be quite, mm, how did they put it… thankless. We are literally giving up our own time and money to spend it with them! And not to mention there are other people who would not be as hospitable as we are.”
“It’s true! They don’t realize how good they have it here. We have to be careful they don’t take advantage of us.”
Back at our table, Mom is the centre of attention as she’s recounting early stories of when they first arrived.
“Sometimes I would try to make curry, you know I just tried to buy some cumin or turmeric but it wouldn’t taste right and wasn’t spicy at all. You need lemongrass! And belacan. But those were the only spices they had. Now you can get curry paste so easy, everything already prepared - so much simpler. I remember the first time I finally saw it at the store, I was so happy! I missed those familiar flavours so much.”
<center>******************</center>
As the meal begins to wind down, I see the MCs head up to the podium. They congratulate everyone on another delicious potluck then pass the mic over to the group president for his year end remarks.
“It’s so good to have all of you here tonight. It’s wonderful to look out and see how big and diverse the CCFC family has grown over the years. Tonight, I want to extend a special thank you to all our international members for this, our 50th anniversary.
I know there have been times where we haven’t been as welcoming as we could have been and I apologize for those mistakes of the past. Our previous leaders had good intentions. They just had limited knowledge and understanding, it was a different time. In those days, we wouldn’t all be eating here together in the same room.
But we’re different now. We invite you in with open arms. Every one of you is an important dish on the table. And together we work to form the beautiful, delicious meal that is CCFC. Our variety is what makes us special. Our differences are our strengths. Because all of us, regardless of our language, culture, or where we come from, have a common sense of what it means to be part of CCFC. Together, we have become leaders in North America, showing other groups how to be tolerant and how to be accepting. Thank you for sharing your culture with us, tonight and every other day as well.
When I eat something that comes from your people and your homeland, it becomes a part of me. And that is something to celebrate.”
The gym rings with applause and a group of international students stand up to present a basket of fruit to the president.
“On behalf of all the host students we just want to present this gift to you as a thank you for all the hard work you’ve done in welcoming us here. Before I left home to come here to Canada, I felt kind of worried that I might not be accepted, as a foreigner. One time, someone saw me just eating my lunch and asked ‘Is that dog? Do your people eat dog?’”
The crowd stirs as people shake their heads in disbelief and disgust at this last line.
“I know, I couldn’t believe it either! So it sometimes felt like people wouldn’t be excited to try food from my country because they think we’re strange or gross. It’s so nice to have a welcoming place with my host family and with CCFC to share my culture instead of being turned away.”
<center>******************</center>
“I’m sure there isn’t a dry eye in the house. We’ve built a community together that is respectful and accepting, and that is really something special. Ok, well to wrap up the evening it’s time for the group photo! Get up here everyone!”
The gym echoes with the scraping of chairs on the floor and hundreds of people shuffling up to the carpet riser at the far end. It’s a little chaotic, just clusters of families swarming in one area. The volunteer photographer starts directing people on where to stand and rearranging us. As I look over the group, I notice they’re spreading out all the international students amongst the host families.
“Okay and you in the blue... you can stand here, next to this family… yes, great."
"If you two in the middle could split up and each take 2 steps to the side...perfect."
That’s what I saw one of the volunteers doing with all the dishes on the potluck table too.
“It just looks better, you know? Like, I don’t want any of the foreign foods to look ‘segregated’!”
Next is a photo of all the host students, past and present, including all family members too. And lastly they take a photo of the CCFC leadership: 8 white students.
<center>******************</center>
On our way out, one of the volunteers gives me a pamphlet. It’s for new international students.
“Ah, I’m actually from here. Born and raised, haha...”
“Oh I’m sorry! It’s...so hard to tell you all apart sometimes...”
My head is swimming with thoughts as we walk across the parking lot and get into the car. I had come to this potluck before, but that was probably 10 years ago and there were so many things I hadn’t noticed or thought about.
“Dad, has it always been only white students in charge of CCFC?”
“Well….not always, you know a few years ago the secretary was a Chinese fellow. But generally, I mean before they started the host family thing, CCFC has historically been all white...and you have to do things like be nominated and commit for a certain number of years...It’s just a lot more difficult to navigate when you’re new coming from overseas.”
“So it’s not a written rule or anything...it’s just how it always ends up...”
“Yes...I mean, CCFC has a funny history, most people don’t know it though because students only come for four, five years and then move away.”
“Yeah, yeah, I know, they had that racist gross-food scandal thing like years ago--”
“No no, not just that. Since the beginning...did you know they used to share office space with the Indigenous Students Society? The one they still use now, right by student central. Actually, they didn’t even have an office to begin with and the ISS generously offered to share...but CCFC slowly took over the space and made them move out, over to the Ed building.”
“... Wow.”
“Many many stories, probably even more from before I arrived that I’ve never heard. But no use bringing them back up, it makes people feel too uncomfortable.”
“If you know all this, why do we keep coming?”
“Well it’s not all bad! It’s good to see friends, share a night of nice food...and at least we’re welcomed. It doesn’t seem as bad as it used to be, so that’s something.” </p>
<h6 style="color:#454c5a; font-family: 'Noto Sans', sans-serif; font-weight:normal;"><b>This story drew inspiration from the following materials:</b>
<a href="https://briarpatchmagazine.com/articles/view/the-myth-of-the-multicultural-patchwork" target="_blank">The myth of the multicultural patchwork</a> by Tyler McCreary
<a href="https://genius.com/Bell-hooks-eating-the-other-desire-and-resistance-annotated" target="_blank">Eating the Other: Desire and Resistance</a> by bell hooks
Multiculturalism on the Frontlines? A Historical Perspective on
Multiculturalism and Settlement Policies and Practices in Canada Since 1971 by Yukiko Tanaka
The paradox of diversity: the construction of a multicultural canada and “women of color” by Himani Bannerji
Exalted Subjects: Studies in the Making of Race and Nation in Canada by Sunera Thobani
<a href="https://open.spotify.com/episode/2vHAa43y86Z2wCDtjeUJhV?si=BETAEl9YT3CnZZ9P1gw-Og&nd=1" target="_blank">Reviewing the model of multiculturalism in Canada</a> by Good Morning Canada
<a href="https://www.ptotoday.com/pto-today-articles/article/1320-multicultural-potluck-brings-a-school-community-together" target="_blank">Multicultural Potluck brings a school community together</a> by Rose Hamilton
<a href="https://www.insidehighered.com/blogs/conversations-diversity/potlucks-strangers-and-wholeness" target="_blank">Potlucks, Strangers, and Wholeness</a> by Eboo Patel
<a href="https://peril.com.au/topics/eating-multiculturalism/" target="_blank">Eating Multiculturalism</a> by Cher Tan
<a href="http://www.intersectionalanalyst.com/intersectional-analyst/2017/1/7/who-gets-to-be-an-authority-on-ethnic-cuisines" target="_blank">Food, Race, and Power</a> by Lorraine Chuen
<a href="https://www.eater.com/22239499/lunchbox-moment-pop-culture-tropes" target="_blank">The Limits of the Lunchbox Moment</a> by Jaya Saxena
<a href="https://www.tastecooking.com/the-dog-question/" target="_blank">Do You Eat Dog?</a> By Soleil Ho </h6>
<center><p style="color:#94999d!important; font-family: 'Anonymous Pro', monospace!important;">When you’re finished reading and listening, [[take a step back.|RC-1]]</p></center>
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<div class="art-closer-solo"><img src="images/lookdeeper/RC-falling-leaves-return-to-their-roots.png" alt="Two photographs featuring the title artwork. A large sculpture made of wood built in an architectural style reminiscent of a traditional Chinese arch or gateway structure. It is suspended in a gallery with a large window. A didactic panel on the wall and small wall-mounted desk is in the second picture. In the first image, the artist sits on the floor, adding a paper-like material to the sculpture. They have light blond hair, and are wearing a black face mask, a light green shirt, green pants and bright orange socks. In the second photo, the artist is not present.">
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<i>falling leaves return to their roots</i>
"My ideas for 落叶归根 [luò yè guī gēn] first started forming when I learned that the land Remai Modern sits on used to be Chinatown in the early 20th century. As I learned more about this often overlooked history, I noticed the emotional connection I felt to early Chinese migrants, despite not being related to them. Around the same time, my parents were telling me about the Hungry Ghost Festival back in Malaysia, where paper effigies are burned as offerings to provide for the needs of the ancestors. I was drawn to this act of burning as a form of transformation, a way to communicate with ancestral spirits and care for them in everyday life.
I’ve always felt a bit lost in terms of my relationship to this land and place. My parents are immigrants and we are settlers; our ancestral roots are on the other side of the world. 落叶归根 is my realization of the broader ways that ancestors can be defined, outside of blood relations. I can have a relationship with the early Chinese settlers and Indigenous ancestors of this land, who laid the foundations for the life I live today. I can express my gratitude and promise not only to remember them, but to be responsible and accountable to them; to take care of what they cultivated and honour their work and care.
I decided to make a gate as a nod to the proposed Riversdale Chinatown Gate that was never built. Symbolically, this gate represents a portal between our world and the ancestral world. I chose the Chinese idiom 落叶归根, “falling leaves return to their roots,” as the title to invite you to join me in finding our way back to our roots, our ancestors, our histories.
Over the coming months I will cover the gate with a paper skin, each sheet containing a note to the ancestors. Anyone can participate by writing a message, in person or online. Later this year the gate will be burned as part of a ceremony, opening up a connection across time and space."
–respectfulchild
当我得知Remai Modern坐落于20世纪初的唐人街时，我的项目概念“落叶归根”就开始形成。当我对这段被经常忽略的历史有了更多的了解时，我注意到我与早期的中国移民有了情感上的联系，虽然我们并没有亲缘关系。大约在同一时期，我的父母给我讲述了一些关与马来西亚的中元节习俗，比如焚烧纸像作为奉献给祖先的祭祀品。这就振奋我产生了一种幻化形式为祖先灵魂的交流的方式。
我对自己与此土此乡的关系，总是感到有些怅然若失。我的父母是移民，而我们是定居者。我们祖先的原籍在世界的另一端。“落叶归根”是我对祖先的定义变得开阔了，认识祖先也可以是无血缘关系的。我可以与这土地的早期中国定居者和原住民祖先建立起关系。这些祖先们影响了我与奠定了我今天的生活基础。我很感激并承诺不仅要记住他们，而且要对他们负责和保存他们的意愿。
我决定以“门”的形式对那个未起建的Riversdale唐人街牌楼致以敬意。它是我们的世界与祖先的世界之间沟通的门户。我选择了“落叶归根”这个汉语成语作为标题，以邀请您和我一起寻找我们的根源,祖先，以及历史。
在接下来的几个月，我会把纸张贴到牌楼的模型，每张纸上都包含一些送给祖先的信息。任何人都可以亲自或在网络留言来参与。 牌楼会作为纪念焚烧仪式，从而打开跨时空的联系。
—顏敬兒
I’d like to extend a special thank you to/特别感谢以下几位的帮助:
Julian Gan, Josephine Gan, Jotham Gan, Heather Kevill, Kate Gibb, Andreas Buchwaldt, Shellie Zhang, Marcel Petit, Yuki Tanaka, Julie Oh, Kahn Lam, Harris Ford, Jeff O’Brien & Ken Dahl at the City Archives, Simon Fuh, Laura Civica, Ari Schneider, Francis Lam, Jie Yan, Pat Keyser, Jessica Szeto, Erica Violet Lee, Troy Mamer, Jeffrey Popiel & Esther Stenberg at Ancient Spirals Retreat.
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<div class="control-text">These three works are by Winnie Truong.
[[> Look closer|Winnie-Closer]]
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[[Good to go!|nuture-intro-a]]
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The queer ecology of <p class="awesome">Winnie Truong</p>’s peculiar ecosystems speak of the elaborate connectivity of the living world. Working within an expanded drawing practice, her intricate paper-cuttings, animation, and coloured pencil drawings present, at times, voyeuristic glimpses into complex relationships. Strange hybridized characters emerge, part flora part fauna, interconnected and attached. Her works prompt questions about where one body ends and another begins, reminding us that we are all inextricably linked and reliant on one another. <i>In Pests for Guests</i>, for example, one central figure appears to be handling a marshy frond, only to have the fronds surrounding it take the shape of hands reaching out to caress the figure in return. Truong has created a visual iconography of interconnectivity that is also reflected in her titles, such as <i>Passenger, Visitor, Feeder</i> among others. Through imagery and language she reminds us that the relations of interdependency between lifeforms are fluid and complex. A host in one scenario becomes a parasite in another. Truong’s work is a call to acknowledge the underrepresented reciprocity in human and more-than-human relations, and to embrace the queer ecologies where we find kin.
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<i>Pests For Guests</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 30” x 22”, 2017
<i>Moth and Mother</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 19.5” x 19.5”, 2018
<i>Axis Mundi</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 36” x 36”, 2018
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<i>Combing Through What They Missed</i>, Winnie Truong, Coloured pencils and cut paper collage, 26" x 40", 2018
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<div class="control-text">[[> Read about the work |Emily-text]]
[[> Learn about the artist |Emily-bio]]
[[> Look deeper |Emily-Deeper]]
When you’re finished here, we are going to exit this space——back out through the same arched doorway. Immediately to our left, there is a living wall with a door that leads to Séamus Gallagher’s work.
[[> Go back through the doorway|nuture-intro-2]]
</div>
</div>
</div>
<span role="img" aria-label="You are in a dark room with black walls. On the dark blue, grid-patterned floor, there a light blue bench. On the wall in front of the bench, a video plays. The video features images of coastal scenes, shipping containers and cranes."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-emily" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
body {
background-color: #000;
background-image: url(images/floorplan-bg-dark.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition" style="flex-direction: column!important; align-items: center!important;">
<table id="emily">
<thead>
<tr>
<th><iframe width="523" height="294" src="https://www.youtube.com/embed/SCqmVmxngyM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></th>
<th><iframe width="523" height="294" src="https://www.youtube.com/embed/5iM_uR1bjkA" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></th>
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<tbody>
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<td><iframe width="523" height="294" src="https://www.youtube.com/embed/Z0mVpFw__2M" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></td>
<td><iframe width="523" height="294" src="https://www.youtube.com/embed/Jtrg2h0Leo8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></td>
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</tbody></table><div class="deeper-text">
<i>a part, as a whole</i> are four videos that can either stand on their own, or be played simultaneously to overlap with each other. Footage and field recordings were collected between May and June 2020.
<div class="credit">This project was created for EVERYSEEKER’s 2020 digital festival 'Emergent Response’.</div>
</div>
<div class="control-mini-dark">
<div class="control-text-mini">
<<if not hasVisited("Emily-closer")>>[[Leave|Emily-1]]<</if>><<if hasVisited("Emily-closer")>>[[Leave|Emily]]<</if>>
</div>
</div>
<span role="img" aria-label="Four youtube videos appear onscreen. They can be played individually or all at once. The first shows a human arm and hand, moving and flexing against a teal background with a pink border. The second is a montage, showing the trails of airplanes against a deep blue sky with a pink border. The third depicts a lilac bush on a sunny day against a blue sky, with some cuts to the same lilac bush in a rainstorm. The fourth again shows a hand moving and gesticulating, this time against a gold/yellow background."></span><style> body {background-color: #000}
</style><div class="video-frame-container"><iframe class="responsive-iframe" src="https://player.vimeo.com/video/547206225?autoplay=1&loop=1&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div>
<script src="https://player.vimeo.com/api/player.js">
<div id="fade-away"><div class="textbox-tooltip-desktop"><p style="padding-top: 0px!important; font-size: 13px;!important;">Double click to the video to go into full screen</p></div></div><div id="fade-away"><div class="textbox-tooltip-intro"><p style="padding-top: 2px!important;">Turn your device into landscape & tap the video to go full screen</p></div></div>
<div class="tooltip" style="color:#f5f5f5!important; text-align: center; padding-bottom:150px;"><div id="fade-away"><h3 style="color: #fff;"><center>Play the video in full screen and dance!</center></h3></div>
<i>Feel The Heat With Somebody </i>, Séamus Gallagher, Video, 00:03:40, 2020</div>
<div id="controlbox">
<div class="control-mini-dark">
<div class="control-text-mini">
[[Go back|Seamus-2]]
</div>
</div>
</div>
<span role="img" aria-label="This video, set to the tune of I Wanna Dance with Somebody (Who Loves Me) by Whitney Houston, pans through a brown and white geometric landscape with a lilac background. There is an animated rendering of the artist Séamus Gallagher in drag makeup wearing a purple geometric hat and a purple ball gown. Gallagher's image pops in and out, and multiplies and changes colours through the geometric, glitchy landscape."></span>
<style>
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<div id="controlbox">
<div class="control">
<div class="control-text">$name , I’m going to let you experience this next piece, by Caroline Monnet, alone. See the arched doorway ahead? That’s the way in, go ahead.
[[> Enter the arched doorway|Caroline-1]]
</div>
</div>
</div>
<span role="img" aria-label="In front of you is a white wall with dark blue trim where it meets the floor. In the centre of the wall is an arched doorway."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-center" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
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}</style><div id="fast-fade-in"><video autoplay muted loop playsinline id="seamus-video">
<source src="video/seamus-clip.mp4" type="video/mp4">
</video>
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<div class="seamus-wall"></div></div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">Welcome to the show! You can feel free to have a seat on one of the cylindrical stools at the back but, for the full experience, I recommend you [[hop onto the dance floor!|Seamus-Closer]]
Or,
[[> Read about the work|Seamus-text]]
[[> Learn about the artist |Seamus-bio]]
[[> Look deeper|Seamus-Deeper]]
</div>
</div>
</div>
<span role="img" aria-label="You are inside a room with an outline of a door on the right wall. The grid-patterned floor is a dancefloor, flashing different shades of purple, pink and blue. Four cylindrical stools are placed on the dancefloor close to you. The walls are covered with a video projection: a strange landscape of shapes, crystal growths and metallic objects. As the video plays, several versions of a human figure are revealed. Their faces have eye makeup and deep pink lipstick, and they wear a sleeveless dress with a plastic hairpiece. The colors of their outfits change throughout the video, changing from white to purple to hot orange."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-seamus" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
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<video autoplay muted loop playsinline id="caroline-video">
<source src="video/caroline-clip.mp4" type="video/mp4"></video>
<div id="exhibition">
<div class="caroline-wall">
</div>
</div>
<div id="controlbox">
<div class="control" style="background-image: url(images/textbox-dark.png)!important;">
<div class="control-text" style="color:#fff!important;">You allow yourself to sink into the chair, becoming fixated on the images flickering on the wall, then you begin to [[notice there’s also sound|Caro-closer]].
</div></div></div>
<span role="img" aria-label="The room remains dark. The pod chair is now turned towards the wall as a video begins to play."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-caroline" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
body {
background-image: url(images/videoroom-caroline.jpg);
background-repeat: no-repeat;
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background-position: center top;}
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<div id="draggable" class="resizable"><div class="artist-text"><p>With a prolific conceptually-driven practice that spans numerous disciplines, <p class="awesome">Caroline Monnet</p> propounds a new social contract of reciprocity. Her work is a call from a potential future——a feminist future with Indigenous sovereignty, and a host planet that can feel the care of its inhabitants. Monnet often works with industrial material in her installation practice to discuss matters of care from both macro and micro perspectives. Her innovative use of materials and the synthesis of personal and collective narrative creates a hybridized visual-vocabulary for complex enquiries surrounding Indigenous identity, bicultural living, and futurity. In her film practice, her revisitation of archival material, traditional story, or historic motif can be read as a challenge of the status quo, and an opportunity to reimagine the future, changing what we know and how. Monnet’s film, <i>Ikwé</i>, narrated by the eco-feminist perspective of Grandmother Moon, tells a story of inter-generational communication and the human responsibility of caring, with respect and gratitude, for a planet that has given such abundance. Throughout her practice Monnet evokes the potential we have to enact care and make change, developing a contract of reciprocity——not only with one another, but with the soil beneath our feet and the waters that cradle the land.
</p>
<div class="tooltip" style="text-align: center;">[[Close |Caro-3]]</div>
</div></div>
<div id="intro">
<div class="intro-wall">
</div>
</div>
<div id="controlbox">
<div class="control" style="background-image: url(images/textbox-dark.png)!important;">
<div class="control-text" style="color:#fff!important;">Bewildered, you go back towards the
arched door.
[[> Learn about the artist |Caro-bio]]
[[> Look deeper |Caro-Deeper]]
[[> Exit the space |Interlude-4-a]]
</div>
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div id="exhibition">
<div class="art-closer-solo"><center><img src="images/lookdeeper/02_CM_2018_Renaissance_DigitalPrintOnPaper_40x60po.jpg" style="max-width:80%;"></center>
<div class="tooltip" style="color:#666973!important; max-width: 700px; text-align: center; margin:auto; padding-bottom:200px;">
<i>Renaissance</i>, Caroline Monnet, Digital Print On Paper, 40" x 60", 2018
</div>
</div>
</div>
<div class="control-mini-dark">
<div class="control-text-mini">
[[Next|Caro-Deeper-2]]
</div>
</div><<nobr>>
<style>
body { background-color: #000;
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div class="bg-tracking-in-expand-overlay-2"><div class="bg-tracking-in-expand-2">
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<div class="title-text">
<div class="tracking-in-expand">
<center><h1>COHESION:</h1><h2>Dismantling barriers to connection</h2></center></div><div id="delay-fade-in"><h3><p class="awesome">Anna Binta Diallo, Rachel M Thornton,</p> and <p class="awesome">KC Wilcox</p> tender vast expressions of cohesion to counter the barriers enforced by systems of power.</h3></div></div>
</div>
</div>
</div>
</div></div>
<</nobr>>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Continue|Interlude-4-b]]
</div>
</div>
</div>
<span role="img" aria-label="As you re-enter the main part of the gallery, your eyes adjust to the light. Yellow, pink and pale green lines appear in a soft hazey light, and sway back and forth."></span><<nobr>>
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<video autoplay muted loop playsinline id="seamus-video">
<source src="video/rachel-clip.mp4" type="video/mp4">
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<div id="exhibition">
</div>
<div class="rachel-floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">This is Rachel M Thorton’s work. With patience, as you stare into the vast starscapes and cosmic gestures, you’ll begin to notice the motion of the universe. To focus on key areas, [[look closer.|Rachel-Closer]]
Or,
[[> Read about the work |Rachel-Text]]
[[> Learn about the artist |Rachel-Bio]]
[[> Look deeper|Rachel-Deeper]]
Next, we are going to turn to the right, to view work by KC Wilcox on the adjacent wall, okay?
[[> Okay, let's go!|Rachel-to-KC]]
</div>
</div>
</div>
<span role="img" aria-label="You are in front of the white wall with the blue trim where it meets the floor. On the wall is a large collage of shapes - polygons, human bodies, hands, fingers, and the moon - inside of a rectangular frame. Each shape shows a different view of the stars, which are animated and moving towards you."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rachel" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
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<div id="draggable" class="resizable"><div class="artist-text"><p>Where Anna Binta Diallo nudges away the invisible geographic borders that divide nations and regions, <p class="awesome">Rachel M Thornton</p> conveys an immense expanse of fluid connections and encourages outreach. Thornton draws attention to the universe as the ultimate host and stranger, guardian of life, and signifier of things unknown. Her work stitches together sundry strands of cosmic research combining science, speculative fiction, and mythology centred on touch. Created with print matter, found footage, and drawing, her augmented reality work <i>uranography (i-v)</i> transforms the night sky into a handheld wonder of haptic experience. In encouraging us to hold the universe in the palm of our hands, she reverses the role of host and guest. Plainly put, she encourages us to carry the universe, where it normally carries us. Using the myth of Urania, greek goddess of the night sky, as a starting point, Thornton invites us to explore and interact with the cosmos through tactility and play. In focussing on Greek mythology she also reflects the importance of xenophilia in encountering the unknown. As in Greek mythology, the ways in which a person receives a guest may determine their fate——whether or not they are turned into a tree or rewarded with prosperity<sup>10</sup>, for example. Gesturing to the significance of acts of welcome in mythological narrative is a sagacious reminder of our propensity for hospitable reciprocity.</p>
<p><sup>10 Smith, Ali, Writers and Company, CBC radio interview, Monday, Oct. 13, 2014</sup></p>
<div class="tooltip" style="text-align: center;">[[Close |Rachel]]</div>
</div></div>
<video autoplay muted loop playsinline id="seamus-video">
<source src="video/rachel-clip.mp4" type="video/mp4">
</video>
<div id="exhibition">
</div>
<div class="rachel-floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Rachel-Closer]]
[[> Learn about the artist |Rachel-Bio]]
[[> Look deeper|Rachel-Deeper]]
[[> Go back|Rachel]]
</div>
</div>
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<div class="tooltip">
<center><i>uranography (i-vi)</i>, Rachel M. Thornton, 6 hand cut collages with AR video activations and accompanying downloadable zine. Collages: 30 x 43 cm (each). Printable zine: 22 x 28 cm (open), 11 x 7 cm (folded). 2020</center></div>
<</nobr>>
<div id="controlbox">
<div class="control-mini-dark">
<div class="control-text-mini">
[[Go back|Rachel]]
</div>
</div>
</div>
<span role="img" aria-label="On the wall is a closer view of the collage of shapes - polygons, human bodies, hands, fingers, and the moon - inside of a rectangular frame. Each shape shows a different view of the stars, which are animated and moving towards you."></span><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<h2 style="color:#666973!important; max-width: 700px; text-align: center; margin:auto;">Use your smartphone to interact with this work!
...Watch the video below to learn how.</h2>
<div id="exhibition" style="flex-direction: column!important; align-items: center!important;"><div class="video-frame-container">
<iframe class="responsive-iframe" alt="This video shows the zine version of the Rachel M Thornton's piece uranography (i-vi). A hand flips through a printed and folded zine which shows augmented reality animations over each page. There are images of human figures and silhouettes of hands holding stars." title="vimeo-player" src="https://player.vimeo.com/video/427036305" width="840" height="560" frameborder="0" allowfullscreen></iframe></div>
<div class="tooltip" style="color:#666973!important; max-width: 700px; text-align: center; margin:auto;">
<i>uranography (i-vi)</i>, 2020. 6 hand cut collages with AR video activations and accompanying downloadable zine. Collages: 30 x 43 cm (each). Printable zine: 22 x 28 cm (open), 11 x 7 cm (folded) </div>
<div class="deeper-text">
INSTRUCTIONS:
1. Download this <a href="https://static1.squarespace.com/static/54258daee4b029b5fc4543e7/t/60509c58cb4b814bdcd1bc6a/1615895643859/uranography_zine_web.pdf" target="_blank">PDF zine</a>.
2. Print by clicking “shrink to fit” your page and follow this single page zine folding video to fold the zine.
3. Using your smartphone as a window to view this work, download the <b>Artivive App</b> (<a href="https://apps.apple.com/us/app/artivive/id1188737494" target="_blank">Apple App Store</a>| <a href="https://play.google.com/store/apps/details?id=com.artivive&hl=en_CA&gl=US" target="_blank">Google Play Store</a>), open and point the camera at one page at a time to activate the augmented reality experience.
4. Try it out!
</div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Rachel-Deeper-2]]
</div>
</div><<nobr>>
<style>
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background-size: contain;
background-color: #93999e;
background-position: top center;
background-repeat: no-repeat;
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="wall">
<div class="art"></div>
</div>
<div class="floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">This is a living mural by KC Wilcox. It was created especially for this gallery. To see all the detail and colour, [[look closer|KC-Closer]]. It’s also time for me to let you know that KC built this whole space for us! You can learn more about that when you [[look deeper |KC-Deeper]].
Or,
[[> Read about the work |KC-Text]]
[[> Learn about the artist|KC-Bio]]
We're approaching the end of our guided tour, but I have one last place to show you. Ready?
[[> Absolutely!|Interlude-5-a]]
</div>
</div>
</div>
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">KC Wilcox</p>’s practice is vast; tributaries of sculpture, drawing and graphic design coalesce with collaboration, social activation, and space-making. Wilcox embraces everyday objects and occasions as opportunities to lightheartedly transmute deep meaning, and her playfulness invites others to seek the same curiosity. Recent projects cover difficult (and intertwined) truths, such as capitalist waste, ecological crises, and grief, with care and poetic grace. In her day to day, Wilcox is Co-director and Curator (along with Emily Saab) of Visitors, an experimental shop, gallery, and community-centric project space in Menagoesg/Menahqesk (Saint John, NB). Driven by an ethics of care, Wilcox nurtures the community, making space for artists to thrive by offering alternative models for exhibiting and selling work. Within the context of HOST, she has constructed our home. Building on her work as a social activator, combined with her design prowess, Wilcox has created the virtual space that holds us as we experience the project. She has responded to text and artworks to design and build an interactive virtual space that enlivens the exhibition and invites viewers to navigate a labyrinthine adventure beyond the confines of gallery walls. Wilcox channels the engaging discovery of early video games, breaking down art world barriers with a playful and fresh way to access meaning.
</p>
<div class="tooltip" style="text-align: center;">[[Close |KC]]</div>
</div></div>
<div id="exhibition">
<div class="wall">
<div class="art"></div>
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<div class="floor"> </div>
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<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look Closer|KC-Closer]]
[[> Learn about the artist|KC-Bio]]
[[> Look deeper |KC-Deeper]]
[[> Go back |KC]]
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</div>
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<div id="fade-away">
<div class="textbox-tooltip-desktop" style="top: 50px;"><p>Move around to examine</p></div><div class="textbox-tooltip-intro" style="margin-bottom:50px;"><p>Pinch to resize. Move around to examine.</p></div></div>
<div class="anna-caption"><i>Plant Food</i>, KC Wilcox, animated computer drawing, 26" x 12", 2021</div>
</div>
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[[Go back|KC]]
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<span role="img" aria-label="You move closer. The artwork now takes up most of the wall."></span><style>
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<center><p class="awesome">Special features: making HOST!</p></center>
<div id="exhibition" style="flex-direction: column!important; align-items: center!important;"><div class="art-closer-solo"><img src="images/host-gif"></div>
<div class="deeper-text" style="padding-bottom: 0px!important;">
“HOST (hostproject.net) was built using <a href="https://twinery.org/" target="_blank">Twine</a> (SugarCube 2.34.1), HTML, CSS, <a href="https://jqueryui.com/" target="_blank">jQuery UI</a>, and a little bit of JavaScript. Talks about HOST started in 2020 but the development started in January of 2021. I worked on HOST from my home in Menagoesg (Saint John, New Brunswick, Canada). The background art and other illustrations were drawn in March, April and May. They were made on my MacBook Air in Adobe Photoshop with a Wacom pen tablet."</div>
<div class="art-closer-solo"><img src="images/twinemap.gif"></div>
<div class="deeper-text" style="padding-bottom: 0px!important;">
<p style="font-size: 12px;"><center>HOST’s twine map.</center></p>
“Making the connection between experiencing artwork in a gallery——to playing a video game——came out of a conversation Amy and I had. I can't remember exactly if it was one single conversation or just something we talked about from time to time. I remember we talked about what exactly makes an art exhibition an experience. An art exhibition is more than viewing a series of works of art in a row. It's different from a slideshow, which is a passive experience, I thought. An art exhibition engages participants actively through movement. It may be the freedom to make choices within a space that drives a person's curiosity to explore. Exhibition design approaches exploration in a way that guides participants without necessarily hand-holding. The choice of how they would like to engage with the space stays with the participant, always. Someone who is a self-motivated, seeking to make a discovery, is usually rewarded for that sort of behaviour. The rewards of an art exhibition are: a sense of wonder or, a moment of surprise or, the feeling of inspiration or, acquiring knowledge, to name a few that I can think of. I thought this sounded a lot like the type of structure found in an environmental narrative game (or also known as a “walking simulator” game). This is the type of game HOST was based on. In a free-to-play, browser-based, text-adventure hybrid, sort of way."</div>
<i>Watch how “the reading room” was drawn:</i>
<div class="video-frame-container"><iframe class="responsive-iframe" src="https://player.vimeo.com/video/563458517?autoplay=1&loop=1&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div>
<script src="https://player.vimeo.com/api/player.js">
<div class="deeper-text" style="padding-bottom: 0px!important;">"It became a rule early on that HOST wasn't about pasting artwork on canned 3D rendering of a white wall gallery. Amy helped guide me through the exhibition she curated, as I helped to develop a structure that would house it. Amy once called HOST <i>an imaginary exhibition space</i>, and thinking back on it, maybe I played the role of an <i>imaginary architect</i>. Amy communicated to me how she imagined the space looking, and I did my best to interpret her vision. Working together through what felt like an extensive iterative process, which was over only about 22 weeks, led us to this unique and wonderful, totally reciprocal, back-and-forth exchange. Amy generously offered input throughout the project. She developed the gallery floorplan, and the narrative style, and helped with so much more, like choosing the colour palette, and with refining a number of shapes used on screen. With each conversation and every new version of HOST, the space revealed itself a little more. Bit by bit. A lot of care went into making HOST come to life."</div>
<i>Watch HOST’s interactions in this video:</i>
<div class="video-frame-container"><iframe class="responsive-iframe" src="https://player.vimeo.com/video/563463728?autoplay=1&loop=1&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div>
<script src="https://player.vimeo.com/api/player.js">
<div class="deeper-text" style="padding-bottom: 0px!important;">"Amy writes about customs of reciprocity in the introduction of HOST. She writes, “whether in digital, spatial, community, science fiction, or biological terms, a host is the body relied upon for providing nourishment, care, or communication”. In one sense, this website is a host. Hosting an exhibition curated with a thoughtful process. Hosting a collection of interesting artwork by a diverse group of talented artists. And hosting visitors that have come to experience it. Amy pointed that one out to me and I love its connection to the theme of the exhibition. I can think of one other way to interpret it. Sharing the role of the host is what made this space. Sometimes I was the host, and at other times it was Amy. Since we shared in the task of receiving or entertaining the other person's ideas. Through a reciprocal way of working together, and with the help of others, the outcome was this space. Ready to be explored. At any time of day, from anywhere in the world, without leaving your home.
HOST is a very special project and I feel fortunate to have had the opportunity to work on it. Amy and I have worked together previously, on her book <i>Harbour: A Compendium</i>. She is a fantastic collaborator. She’s open, trusting and very supportive. I love working with her every chance I get. Amy and I talked a lot about the potential for art spaces during the development of HOST. It was fun to play with the possibilities of what can happen when an art space isn’t strictly tied to physical limits. My work on HOST may be the most honest thing I’ve ever made. I feel like I have been learning all my life how to help make a project like this one. It's a long-winded explanation why, and it probably goes into way more personal detail than necessary. Maybe I'll tell you some day over coffee or a beer. All that to say, designing an art video game as a creative gesture felt genuine and connected to something rooted in my childhood. I’m very grateful for the chance to be a part of this project."
——KC Wilcox
<i>Special thanks to Corey and Emily. To Alex. And to Katie, Neil, and the volunteers at Third Space.
I was introduced to Twine last summer by Jeff Arbeau when he presented <a href="https://discoversj.neocities.org/" target="_blank">DISC.OVER SJ</a> at <a href="https://thirdshiftsj.com/" target="_blank">Third Shift</a>. It’s an incredible work of environmental narrative art and——hands down——the best video game about Saint John there will ever be.</i>
</div>
<div class="control-mini">
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[[Leave|KC]]
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<</nobr>>
<<fadein 2s>>
<div id="controlbox">
<div class="intro-control">
<div class="intro-control-text">This is the last place I’d like to show you——the HOST reading room. Follow me in through the arched doorway?
[[> Okay.|Reading-Room]]
</div>
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<</fadein>>
<span role="img" aria-label="Amy, the curator, reappears in front of a green wall covered in moving shapes colored dark blue, light blue and green. Ahead of you is an arched doorway, showing a blue backdrop with green diamond shapes."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-enter-exit" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
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<<fadein 2s>>
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<div class="intro-control-text">And this is where I’ll end the tour, but you’re welcome to stay as long as you like. Thanks for visiting, $name —— it’s been such a pleasure to host you. Hope to see you again soon.
[[> Stay and revisit the gallery |End-2]]
[[> Approach the exit |Outro]]
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<</fadein>>
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<span role="img" aria-label="Amy, the curator, reappears in front of a green wall covered in moving shapes colored dark blue, light blue and green."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-enter-exit" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
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<div id="intro" style="position:absolute!important; background-image: url(images/readingroom.png);
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background-size: cover;
background-position: center top; top: 0px;"></div>
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<div id="controlbox">
<div class="control">
<div class="control-text">Make yourself at home here. You can have a seat at the desk or on the plush carpeted floor, talk to the plants or [[look out the window|library-window]]. Let yourself get lost. [[Look deeper|Readinglist]] to peruse the collection. And feel free to leave reading recommendations for future visitors!
Or,
[[> Exit the reading room|End-1]]
</div>
</div>
</div>
<span role="img" aria-label="You stand in the reading room. The opposite wall has a floor-to-ceiling window, showing twinkling diamond-shaped stars. The floor is half blue and half orange-pink. A table and three yellow cylindrical stools sit next to the left wall. On the right wall is a bookshelf filled with a rainbow of multicolored books. Potted plants sit atop the bookshelf, and next to the window."></span>
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<div id="intro">
<iframe src="https://docs.google.com/document/d/e/2PACX-1vRJVwO4dRpMFZi-95fhJ6LE02EGaH-NgyNUna2sm9_MFfAatiVMRx2minDpMbF7UjGyEKEcZ8yfiW5r/pub?embedded=true" style="max-width: 100%; width: 100vw; max-height: 100%;height: 100vh;"></iframe>
<iframe src="https://docs.google.com/document/d/e/2PACX-1vSJqxivXBL3ZzStY8Nw56EFnjjisgtnFunuRMoRqB0IqCYTif-bY4DG_dFB6-bftS2333jsHMOY7nVo/pub?embedded=true" style="max-width: 100%; width: 100vw; max-height: 100%;height: 100vh;"></iframe>
<center><button><a href="https://docs.google.com/document/d/1EDQ-kOprZ1ISrrg8pLhp5jtea73pd4cAKBO3-Yg01yk/edit?usp=sharing" target="_blank">Add your reading list recommendations!</a></button></center>
</div>
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[[Go back|Reading-Room-day]]
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<div class="control-text">The installation is vast, with some elements positioned on the wall and others extending out into the space. Approach the installation to [[look closer.|Anna-Closer]]
Or,
[[> Read about the work |Anna-text]]
[[> Learn about the artist |Anna-bio]]
[[> Look deeper|Anna-Deeper]]
When you're all finished looking around, I’d like to show you Rachel M Thornton’s work next. Her work is on wall with the arched door. Follow me?
[[Ok, let's go!|Anna-to-Rachel]]
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<span role="img" aria-label="Ahead of you, human and animal silhouettes that have been constructed with collage material appear against a solid white wall. The human figure on the right appears to be participating in an Indigenous ceremony, and is surrounded by silhouettes of three river salmon, a moose, a turtle, and two geese. The collage material used to create the silhouettes consists of nature photography and drawings, topographical maps and Indigenous artworks."></span>
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<div id="exhibition">
<div class="anna-caption"><i>Freshwater Constellations</i>, Anna Binta Diallo. Commissioned composition of <i>Wanderings</i> for <i>HOST</i>. <i>Freshwater Constellations, Turtouse (II), Sea Woman, Seagulls, Salmon, and Egg</i> from the <i>Wanderings</i> collage series (2019-2021)</div>
<div id="controlbox">
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[[Closer|Anna-closer-2]]
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<span role="img" aria-label="On the white wall, there are two geese flying to the left, above a blue shape. Three salmon are on the bottom of the wall, their fins colored green, blue and red. A cutout of a human in the sitting position looks down at the blue object in their hands. Next to them is a pink colored elk/moose. On the grey floor sits a turtle with an orange body, and an egg that seems to have hatched."></span><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div id="exhibition">
<div class="art-closer-solo"><center><img src="images/lookdeeper/wanderings_annabintadiallo2020_creditRachelTohphamPhotography1 copy.jpg" style="max-width:80%;" alt="Seven human silhouettes cut from collage material displayed on and in front of a white wall. Three are attached to the wall itself and four are freestanding cut-outs. On the wall surrounding them are silhouettes of Indigenous homes, as well as plant and animal forms. The collage material used to create the silhouettes consists of nature photography and drawings, topographical maps and Indigenous artworks."></center>
<div class="deeper-text">
Installation details and text below from <i>Wanderings</i>, a 2019 solo exhibition at Towards Gallery, Toronto
Developed primarily during a residency at the Banff Centre earlier this year, the work within the exhibition expands on her ongoing investigation into themes of migration, displacement, personal mythologies, and the relationship between language, history, and identity.
Taking the form of a large scale, site-specific installation, Diallo creates an immersive environment with a multitude of characters. Employing a mix of both collage and sculpture, the silhouettes of human and animal forms are constructed from a variety of source material. Spanning science, literature, and historical photography, the characters within the staging reference a diverse set of stories——extending to creation myths, autobiographical accounts and forgotten histories.
As the stories we tell ourselves shift and transform over time, at the center of Diallo’s work remains a fundamental question——How does one try to reconcile the complex, and often times conflicting elements of one’s own identity?
<div class="credit">Image credits: Rachel Tohpham Photography</div>
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Anna-Deeper-2]]
</div>
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<div id="fade-away"><div class="textbox-tooltip-desktop"><p>click & hold to drag & expand</p></div></div>
<div id="exhibition">
<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Lou Sheppard</p> is a Canadian artist working in interdisciplinary audio, performance and installation based practice. They have exhibited work both in Canada and internationally, and have participated in residencies throughout Canada, in Europe and in the US. Sheppard’s artistic research reflects their background in critical theory and social activism. They are interested in languages, both as systems of notation and communication, as well as systems that structure and enact power. By looking to authoritative texts like taxonomies, environmental data, diagnostic criteria, and government policy, their work attempts to make these systems and structures of power legible. Using processes of metaphor, translation, semiotic shift, and close reading, their work is evidenced through written, graphic and visual scores. The performance of these scores often leads them to collaborate with communities and with other artists, including musicians, visual artists and performing artists.
http://lousheppard.com
</p>
<div class="tooltip" style="text-align: center;">[[Close |Lou-1]]</div>
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<div class="wall">
<div class="art"> <img src="images/Lou-wall.png"> </div>
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<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Lou-Closer]]
[[> Read about this work|Lou-Text]]
<<if not hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper-Introduction]]<</if>><<if hasVisited("Lou-Deeper-Introduction")>>[[> Look deeper|Lou-Deeper]]<</if>>
[[> Go back|Lou-1]]
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<style>
body {
background-color: #ffdbc5;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo">
<img src="images/Lou Sheppard-1- Murmurations(Sidewalk)-1000.png" alt="A retangular-shaped image by Lou Sheppard. The background is a warm yellowish cream colour. A yellow and orange path made of dash lines cross horizontally in the center of the image. In the center of the image the orange path moves upward while the yellow path moves downward to avoid running into each other.">
<div class="tooltip" style="color:#666973!important; text-align: center; padding-bottom:150px">
<i>Murmurations (Sidewalk)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021 </div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Murmurations-II]]
</div>
</div>
</div><style>
body {
background-color: #ffdbc5;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/Lou-Sheppard-2-Murmurations-(Intersection)-1000.png" alt="A retangular-shaped image by Lou Sheppard. The background is a warm yellowish cream colour. Four paths made up of horizontal dashes (with arrows at either ends of the paths indicating what direction they are moving) interact with each other. The mustard-colored path moves from the left side of the image to the right side and a blue path moves from the right side of the image to the left. A red path moves from the top center of the image and moves downwards and a green path moves from the bottom center of the image upwards. All of the paths meet in the center of the picture plane and make an abstract circular formation from trying to maneuver around each other.">
<div class="tooltip" style="color:#666973!important; text-align: center; padding-bottom:150px;">
<i>Murmurations (Intersection)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021 </div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Murmurations-III]]
</div>
</div>
</div>
<style>
body {
background-color: #ffdbc5;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/Lou-Sheppard-3-Murmurations-(Park)-1000.png" alt="A retangular-shaped image by Lou Sheppard. The background is a warm yellowish cream colour. A Pink, red, yellow, green and blue path made of dashes intertwine and move from the top horizontal center of the image to the bottom horizontal center of the image.">
<div class="tooltip" style="color:#666973!important; text-align: center; padding-bottom:150px;">
<i>Murmurations (Park)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021 </div>
</div></div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Murmurations-IV]]
</div>
</div>
</div><style>
body {
background-color: #ffdbc5;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/Lou-Sheppard-4-Murmurations-(Grocery Store)-1000.png" alt="A retangular-shaped image by Lou Sheppard. The background is a warm yellowish cream colour. A pink path made up of horizontal dashes appears from the bottom left-hand side of the image and moves upwards. A red path made up of horizontal dashes appears from the top left-hand side of the image and moves downwards. The paths meet in the vertical center of the image and interact with each other in a series of maneuvers displayed through curves and overlapping paths as if passing by a person in a grocery aisle. The paths move in the opposite directions but they both repeatedly move up and over and down and over the space while overlapping until they eventually reach the left side of the image where both paths run off the vertical center of the image together.">
<div class="tooltip" style="color:#666973!important; text-align: center; padding-bottom:150px;">
<i>Murmurations (Grocery Store)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021</div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Murmurations-V]]
</div>
</div>
</div><style>
body {
background-color: #ffdbc5;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/Lou-Sheppard-5-Murmuration-(flock)-1000.png" alt="A square image by Lou Sheppard. The background is a warm yellowish cream colour. A pink, orange, red, green, purple, yellow, and blue path made of dashes have arrows on both ends of the paths to indicate what direction they are moving. The paths are scattered at their starting points and move and intertwine across the image to the left-hand side to make a uniform “v” formation that points to the left.">
<div class="tooltip" style="color:#666973!important; text-align: center; padding-bottom:150px;">
<i>Murmurations (Flock)</i>, Lou Sheppard, Digital Drawing, 28cm x 28cm, 2020</div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Go back|Lou-1]]
</div>
</div>
</div><style>
body {
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background-image: url(images/floorplan-bg.jpg);
background-size: cover;
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<div id="exhibition">
<div class="art-closer-solo"><center><img src="images/lookdeeper/_DSC5395.jpeg" alt="A photograph of an art installation by Lou Sheppard. The angle of this photograph is looking down. It was taken from 10 or 15 feet in the air. Six people in frame follow one of seven different colored paths painted on the asphalt in a empty parking lot."></center>
<div class="tooltip" style="color: #666973!important; max-width: 700px; text-align: center; margin:auto;">
<i>Murmurations</i> (installation) for the City of Richmond, Photo by Michael Love</div>
<div class="deeper-text">
As a public art work <i>Murmurations</i> was shown in Richmond, BC, 2020. The public art work took shape in the form of notation——directional markings that formed a choreographic score painted onto pavement. These markings reference the social distancing directions that we now see in public space. The work exists as a visual score for our social distancing choreography, and an invitation to follow the directional markings on the pavement to perform the dance.</div>
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Lou-Deeper-2]]
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</div><style>
body {
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background-repeat: no-repeat;
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<div id="fade-away"><div class="textbox-tooltip-intro"><p>Turn your device to view the background.</p></div></div>
<div id="controlbox">
<<fadein 2s>>
<div class="intro-control"><div class="intro-control-text-2">This is the entrance to the gallery. You’ll notice it is an unusual space, fueled by imagination——walls may seem to be alive, one image or text may take you in several different directions. Please feel free to linger; look closely and deeply to explore everything, and revisit areas more than once——you can stay as long as you like, $name . Are you ready to step inside?
[[> Yes——let's go!|Gallery-Enter]]
</div>
</div>
</div>
<</fadein>>
</div>
<span role="img" aria-label="The entrance of the gallery. Squiggles colored different shades of green and blue move gently on the wall to your left. Ahead is the larger gallery space. It's obscured by a magical fog... The grey cement floor ahead fades into it."></span>
<<fadein 2s>><div class="locationpin" style="margin-top: -15px;"><a data-passage="fp-enter-exit" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style> body {background-color: #fcfcfa}
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<div id="intro" style="position:absolute!important; top: 0px!important;">
<div class="bg-tracking-in-expand-overlay"><div class="bg-tracking-in-expand" style="background-color:#f0f0e4cc!important;">
<div class="intro-wall">
<div class="start">
<div id="fade-in"><div class="pulsate-fwd"><img class="logo" src="images/host-logo.png" alt="A hand-drawn logo reading ‘HOST’ moves against an animated, light yellow background."> </div>
<center><p style="color:#e8a9b5;">A virtual contemporary art project.</p>
<p style="color:#e8a9b5; font-size: 12px;"><i>HOST was presented from June 17th to September 17th 2021.</i></p><p style="color:#e8a9b5; font-size: 12px;"><i>This site is a record of the project for archival and educational purposes only.</i></p></center>
<div><div id="startbox" style="width: 100px; margin: auto;">
<div class="start-text" style="font-family: 'Concert One', monospace!important;">
[[START|Welcome-1]]
</div></div>
<div class="start-info">
<p style="font-size: 10px; color:#92999f!important;">
This visual narrative experience is playable on desktop and handheld devices.
It has been optimized for desktop play and may not optimize for every mobile environment.
For best performance, use the current or first previous major release of Chrome, Firefox, Edge, or Safari.</p>
</div>
</div>
</div>
</div>
</div><<nobr>>
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<link href="https://fonts.googleapis.com/css2?family=Anonymous+Pro:ital,wght@0,400;0,700;1,400;1,700&family=VT323&display=swap" rel="stylesheet">
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<div id="exhibition">
<div id="draggable" class="resizable"><div class="artist-text">
<p>
In contrast to aker’s non-hierarchical co-creation, <p class="awesome">respectfulchild</p> confronts uneven power dynamics in practices of hospitality and welcoming. An interdisciplinary artist with a focus on composition, performance, and installation, respectfulchild’s work is a queer alchemy that breaks down barriers between genres, place, culture, and identity politics. Their practice sits vibrantly and poetically in the in-between and tells a layered and multi-sided story of belonging. As a queer Chinese settler born, raised, and living on Treaty 6 territory in the Canadian Prairies, there is a fluidity to their practice that echoes the push and pull——the <a href="https://respectfulchild.com/about/" target="_blank">“quiet chaos and beautiful tension”</a><sup>7</sup>——of their lived experience, while reaching into the ever-present past and future. Respectfulchild’s new work <i>Host Family Potluck</i>, a composition of music and text, to be digested simultaneously, addresses the shortcomings of multiculturalism through food culture and misguided attempts at hospitality. The work is centred on customs of welcoming that remain entrenched in colonial mindset, feeding the commodification of cultural, ethnic, and racial differences to “enhance the white palate”.<sup>8</sup> Respectfulchild unmasks the systems of power in customs of hospitality by questioning who has the privilege of “welcoming” an——other? Who has the burden of being gracious for the welcome? And, finally, how can we generate balance?</p>
<p><sup>8 hooks, bell. Black Looks: Race and Representation. Boston, MA: South End Press, 1992. Print</sup></p>
<div class="tooltip" style="text-align: center;">[[Close |RC-1]]</div>
</div></div>
<div class="wall">
<div class="art-rc"><img src="images/rc-1.png" alt="You are standing in front of a light grey wall painted with a large green wave. A large interactive panel is mounted to the center of the wall with a pair of black headphones, to its right. At the top of the panel, it reads; Host Family Potluck, the title of a written piece by respectfulchild. The subsequent paragraphs are too far away to read clearly."></div>
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<div class="floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|RC-Closer]]
[[> Learn about the artist |RC-bio]]
[[> Look deeper|RC-Deeper]]
[[> Go back|RC-1]]
</div>
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<</script>><<cacheaudio "rcsong" "https://hostproject.neocities.org/audio/Respectful%20Child%20HostFamilyPotluck.mp3">>
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<div class="tracking-in-expand">
<center><h1>NURTURE:</h1><h2>On being caring and responsible guests of this planet</h2></center></div><div id="delay-fade-in"><h3>The work of <p class="awesome">Emily Kennedy</p>,<p class="awesome">Séamus Gallagher</p>, and <p class="awesome">Caroline Monnet</p> asks how we, as humans, can be better guests through ecological action and care.</h3></div>
</div>
</div>
</div>
</div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Continue|Emily-intro]]
</div>
</div>
</div>
<span role="img" aria-label="The flower on the green wall now takes up the whole screen. The outline of the flower has become animated."></span><<nobr>>
<style>
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overflow: hidden;
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<link rel="preconnect" href="https://fonts.gstatic.com">
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<div id="exhibition">
<div id="draggable" class="resizable"><div class="artist-text">
<p><p class="awesome">Winnie Truong</p> is a Toronto based artist working with drawing, cut paper, and animation to explore ideas of identity, feminism, and fantasy and finding its connections and transgressions in the natural world. She has exhibited her work internationally and was a 2017 recipient of the Chalmers Arts Fellowship. Her work has been included on the CBC program The Exhibitionists, and in her recent survey exhibition at Saw Gallery in Ottawa (ON). She has been an artist in residence at the Brucebo Scholarship in Gotland (Sweden) and a past resident at Doris McCarthy Fool’s Paradise in Scarborough (Ontario). Truong received her BFA from OCAD University.</p>
<p></p>
<p>https://www.winnietruong.com
</p>
<div class="tooltip" style="text-align: center;">[[Close |Winnie]]</div>
</div></div>
<div class="wall">
<div class="art">
<img src="images/Winnie-wall-small.png"> </div>
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<div class="floor"> </div>
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<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Winnie-Closer]]
[[> Read about the work |Winnie-Text]]
[[> Look deeper|Winnie-Deeper]]
[[> Go back|Winnie]]
</div>
</div>
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@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div id="exhibition">
<div class="art-closer-solo"><img src="images/Winnie Truong-1-Pests-For-Guests-22x30.png" alt="A drawing of a solitary, faceless figure is presented from a silhouetted perspective in a swamp of green vegetation inhabited by two flying insects.">
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<center><i>Pests For Guests</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 30” x 22”, 2017</center></div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Winnie-Closer-II]]
</div>
</div>
</div><style>
body {
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}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div class="art-closer-solo"><img src="images/Winnie-Truong-2-Moth-and-Mother-19-5x19-5.png" alt="A drawing of two silhouetted, faceless figures float in a space defined as flat wallpaper with repetitive pastel floral images. One figure is slightly larger with one foot of the smaller figure seeming to probe the “mother” figure while a moth floats overhead.">
<div class="tooltip" style="color:#666973!important; padding-bottom:150px;">
<center><i>Moth and Mother</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 19.5” x 19.5”, 2018</center></div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Next|Winnie-Closer-III]]
</div>
</div>
</div><style>
body {
background-color: #cfddb0;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
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<div id="exhibition">
<div class="art-closer-solo"><img src="images/Winnie-Truong-3-Axis-Mundi-36x36.png" alt="A drawing depicting a spiral of green vegetation and pink flowers spins out from a large pink flower in the centre. Three figures with heads which seem to be coming from the plant are tangled in the tendrils of the plant.">
<div class="tooltip" style="color:#666973!important; padding-bottom:150px;">
<center><i>Axis Mundi</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 36” x 36”, 2018</center></div></div>
</div>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[Go back|Winnie]]
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Emily Kennedy</p> infiltrates the temporal structure of place through careful observations of her surroundings. Her work employs time-based media, primarily sound and photography, to set the stage for a dreamlike experience of time, encouraging a nuanced change of pace. A cellist and composer, she is a dedicated collaborator, working in fluid partnership with artists of all disciplines, as well as with the places she inhabits. Kennedy often collects field recordings and imagery that evidence states of being and becoming. She uses this documentation to reshape the experience of place, composing the remnants into images and echoes of itself. <i>Like Sand in Water</i>, is a split screen video and sound work that carefully surveils the unending flux of industrial activity along the coast in Kjipuktuk (Halifax). Borrowing the language of chemistry, Kennedy likens the industrial activity to a ‘suspension’, which is a heterogeneous mixture wherein the solute particles remain suspended and floating, refusing to dissolve.<a href="https://chem.libretexts.org/Courses/University_of_Kentucky/UK%3A_CHE_103_-_Chemistry_for_Allied_Health_(Soult)/Chapters/Chapter_7%3A_Solids%2C_Liquids%2C_and_Gases/7.6%3A_Colloids_and_Suspensions" target="_blank" style="font-size:12px">9</a> In this metaphor industry is reimagined as particles that will not break down, causing the artist to muse over the saturation point of the planet itself. Kennedy’s work is a heavy but poetic exhortation to linger, take note, and manifest new realities.
</p>
<div class="tooltip" style="text-align: center;"><<if not hasVisited("Emily-closer")>>[[Close |Emily-1]]<</if>><<if hasVisited("Emily-closer")>>[[Close|Emily]]<</if>></div>
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<video autoplay muted loop playsinline id="seamus-video">
<source src="video/emily-clip.mp4" type="video/mp4">
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background-repeat: no-repeat;
background-size: cover;
background-position: center top;
top: 0;">
</div>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Emily-closer]]
[[> Learn about the artist |Emily-bio]]
[[> Look deeper |Emily-Deeper]]
<<if not hasVisited("Emily-closer")>>[[> Go back |Emily-1]]<</if>><<if hasVisited("Emily-closer")>>[[> Go back |Emily]]<</if>>
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<i>like sand in water</i>, Emily Kennedy, split screen video, 00:08:21, with original score.
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[[Go back |Emily]]
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<div class="control-text">The door in the middle of this living wall leads to Séamus Gallagher’s work. Go ahead, $name, [[open the door|Seamus]].
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<span role="img" aria-label="You face a white wall. In the middle of the wall is a grey door with the word ‘ENTER’ on it. To the left of the door are three drawings: a purple flower, a green and purple shape, and a cloud-like shape that appears and disappears. To the right of the door are more drawings: a series of bright pink and orange lines, and a human outline between two squiggly, animated black-and-white lines."></span>
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Emily Kennedy</p> is a cellist and composer based in Fredericton, New Brunswick. Often seen collaborating with electronic musicians, dancers, visual artists, and songwriting projects, her personal practice is an opportunity to synthesize her classical training with her interests in improvisation, minimalism, field recordings, and pop music. She mulls over translation, repetition, self reflection, and time in her work, using loop and effect pedals to expand the possibilities of her instrument. She is a graduate of the performance program at the University of Ottawa and Wilfrid Laurier University. Her interest in performing and writing new music has brought her to Banff’s Concert in the 21st Century residency, the Britten-Pears: CAPPA program in Aldeburgh, UK, Montreal Contemporary Music Lab, RE:FLUX Festival in Moncton, NB with improv trio Terre Wa, and suddenlyLISTEN in Halifax, NS. She frequently performs with the Elm City String Quartet, and writes and sings for the duo Pallmer.
</p>
http://www.emily-kennedy.com
<p></p>
<div class="tooltip" style="text-align: center;"><<if not hasVisited("Emily-closer")>>[[Close |Emily-1]]<</if>><<if hasVisited("Emily-closer")>>[[Close|Emily]]<</if>></div>
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[[> Look closer|Emily-closer]]
[[> Read about the work |Emily-text]]
[[> Look deeper |Emily-Deeper]]
<<if not hasVisited("Emily-closer")>>[[> Go back |Emily-1]]<</if>><<if hasVisited("Emily-closer")>>[[> Go back |Emily]]<</if>>
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Séamus Gallagher</p>’s work is characterized by fantasy and queer wonder——colourful spaces, costumery, and a remarkable balance between sincerity and sass. Concerned with intersections of community and belonging, they operate through media that is widely accepted as truthful, such as photography, to create fantastical spaces and scenarios rich in critical discourse. Taking liberties with the documentary history of lens-based media, Gallagher refashions our sense of temporal reality and expands the bounds of possibility, welcoming everyone into the fold of their queered ecologies. Their work, <i>Feel the Heat with Somebody</i>, is a darkly playful reckoning——a lament for the ongoing ecological crisis, as well as the hopelessness of passionate longing in the face of existential undoing. The work features a multiplicity of the artist’s drag persona, Sara Tonin, swaying with allure in an unearthly landscape. Whitney Houston’s ‘I Wanna Dance With Somebody’ plays in the background while record-breaking temperatures, a consequence of our environmental misuse and neglect, spread like hot flashes across Sara Tonin’s dress. In Sara Tonin’s performance, seemingly melodramatic displays of longing and gestures of intimacy make way for larger questions of care and support for one another and our home planet.
</p>
<div class="tooltip" style="text-align: center;"><<if not hasVisited("Seamus-Closer")>>[[Close|Seamus]]<</if>><<if hasVisited("Seamus-Closer")>>[[Close|Seamus-2]]<</if>></div>
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<div class="control-text">[[> Look Closer|Seamus-Closer]]
[[> Learn about the artist|Seamus-bio]]
[[> Look deeper|Seamus-Deeper]]
<<if not hasVisited("Seamus-Closer")>>[[> Go back |Seamus]]<</if>><<if hasVisited("Seamus-Closer")>>[[> Go back |Seamus-2]]<</if>>
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Séamus Gallagher</p> is a non-binary photo and virtual reality artist currently based in K’jipuktuk (Halifax, Nova Scotia). They recently graduated from NSCAD University with a double major in Photography and Expanded Media (BFA 2019). Their work has shown in festivals/exhibitions across Canada, as well as in Germany, England, Switzerland and Los Angeles. They are the recipient of the 2017 AGO | AIMIA Photography Scholarship, the 2018 NSCAD Student Awards, and the 2019 BMO 1st Art! Awards. They were also recently longlisted for the 2019 Scotiabank New Generation Photography Awards.
</p>
<div class="tooltip" style="text-align: center;"><<if not hasVisited("Seamus-Closer")>>[[Close|Seamus]]<</if>><<if hasVisited("Seamus-Closer")>>[[Close |Seamus-2]]<</if>></div>
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<</nobr>>
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<div class="control-text">[[> Look Closer|Seamus-Closer]]
[[> Read about the work|Seamus-text]]
[[> Look deeper|Seamus-Deeper]]
<<if not hasVisited("Seamus-Closer")>>[[> Go back |Seamus]]<</if>><<if hasVisited("Seamus-Closer")>>[[> Go back |Seamus-2]]<</if>>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/GallagherS_ASlipperyPlace1_2018_01_72dpi.jpg" style="max-width:80%;" alt="The artist Séamus Gallagher poses in a dress made of geometric rings in the primary colours: red, yellow and blue. Her headdress is made ot multifaceted balls of red, yellow, and blue as well. The background is grey stones with a dark moss on top, with a green texture that looks like waves."></center>
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<i>A Slippery Place</i>
Inspired equally by drag culture and video game aesthetics, <i>A Slippery Place</i> touches on themes of identity, embodiment, and fantasy. Through a process of converting digital 3D renderings into paper models, I have constructed drag-influenced costumes, wigs, and masks that I wear for this series of self-portraits. By staging these photographs within sets created from images of video game environments, I am interested in the queering of virtual spaces and blurring the binary of the digital and the physical.
</div></div>
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<div class="control-mini-dark">
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[[Next|Seamus-Deeper-2]]
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<i>Ikwé</i>, Caroline Monnet, Short Film, 00:04:45, 2009</div>
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[[Finish|Caroline-2]]
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Caroline Monnet</p> is a multidisciplinary artist from Outaouais, Quebec. She studied in Sociology and Communication at the University of Ottawa and the University of Granada (Spain) before pursuing a career in visual arts and films. Her work has been programmed internationally at the Palais de Tokyo (Paris), Haus der Kulturen der Welt (Berlin), TIFF (CAN), Sundance (US), Aesthetica (UK), Palm Springs (USA), Cannes Film Festival, Museum of Contemporary Art (Montréal), Arsenal Contemporary NY, Axenéo7 (Gatineau), Walter Phillips Gallery (Banff), Division Gallery (Montreal) and the National Art Gallery (Ottawa). In 2016, she was selected for the prestigious Cinéfondation residency in Paris. Her work is included in numerous collections including Quebec Museum of Fine Arts, National Art Gallery, RBC Royal Bank, and Museum of Contemporary Art Montréal. Recent exhibitions include the Whitney Biennial and the Toronto Biennale of Art 2019. 2021's upcoming exhibitions include the Schirn Kunsthalle (Frankfurt), the Eli and Edythe Broad Art Museum Michigan State University, The Koffler Gallery (Toronto) and a museum solo show at the Montreal Museum of Fine Art. She is based in Montreal and represented by Blouin Division Gallery.
https://carolinemonnet.ca
</p>
<div class="tooltip" style="text-align: center;">[[Close |Caro-3]]</div>
</div></div>
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<div class="control-text" style="color:#fff!important;">Bewildered, you go back towards the
arched door.
[[> Read about the work |Caro-Text]]
[[> Look deeper |Caro-Deeper]]
[[> Exit the space |Interlude-4-a]]
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<style>
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<div id="draggable" class="resizable"><div class="artist-text"><p>In <p class="awesome">Anna Binta Diallo</p>’s work, borders cease to exist. The visual language of her collage-driven practice defies any singular cultural or geographic particularity, inviting the viewer to imagine a world where the invisible borders across the land and sea, proprietary marks delineating nations, are inconsequential. Through her eclectic blend of found imagery, Diallo creates migratory constellations of open-ended narrative possibilities, each image a question with countless answers. Her work investigates and embraces a sense of pluriversal belonging, validating a multitude of ways of being, existing simultaneously. In <i>Wanderings</i>, Diallo examines folk stories——through imaginary, personas, and places——and uses their foundations to build upon in the construction of new legends. <i>Wanderings</i> is a vast body of work that includes large-scale installations and animation constructed through collage material. Each work is characterized by a strong silhouette, with textures of found images filling the space within the contours. <i>Freshwater Constellations</i> signifies movement, connection and determination. Freshwater flows from place to place as tributaries link bodies of water through both visible and unseen pathways. Although Diallo’s work covers weighty concepts, ranging from issues of non-belonging, immigration, racism, and the refugee crisis, the work is hopeful, a reminder that migration adds richness, even in the face of widespread tightening of border control.
</p>
<div class="tooltip" style="text-align: center;">[[Close |Anna]]</div>
</div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Anna-Closer]]
[[> Learn about the artist |Anna-bio]]
[[> Look deeper|Anna-Deeper]]
[[> Go back|Anna]]
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<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">Anna Binta Diallo</p> is a multi-disciplinary visual artist who investigates memory and nostalgia to create unexpected narratives surrounding identity. She was born in Dakar (Senegal, 1983) and raised in Saint-Boniface, Winnipeg on the traditional territory of Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and the homeland of the Métis Nation. She completed her BFA at the University of Manitoba’s School of Fine Arts (2006) and received her MFA from the Transart Institue in Berlin (2013). Her work has been shown internationally. Anna Binta Diallo has been the recipient of multiple grants and honours, notably from The Canada Council for the Arts, The Conseil des Arts et des lettres du Québec, and Francofonds. In 2019, Diallo's work was selected as a shortlisted finalist for the Salt Spring National Art Prize. She is currently based in Montreal, or Tio’tia:ke, on the traditional territory of the Kanien’kehá:ka.</p>
<p></p>
https://www.annabintadiallo.com
<p></p>
<div class="tooltip" style="text-align: center;">[[Close |Anna]]</div>
</div>
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<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Anna-Closer]]
[[> Read about the work |Anna-text]]
[[> Look deeper|Anna-Deeper]]
[[> Go back|Anna]]
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<div class="control-text">Let’s pause here, at this living wall, for a moment. I love watching it grow. Whenever you’re ready, follow me a little bit farther.
[[> Watch |Corner-2]]
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<span role="img" aria-label="Ahead of you is a green, grassy hill painted on a light gray wall. On the grass, yellow, orange and pink stripes move. White and black lines animate, creating the shape of a flower."></span>
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<div class="control-text">We’ll start by turning the corner to the left, past the living wall, ok?
[[Ok, great! |Lou-1]]
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<div class="control-text">This is a video work by rudi aker. You’re a bit too far away to hear the audio. Go ahead, [[look closer.|Rudi-Closer]]
Or,
[[> Read about the work |Rudi-Text]]
[[> Learn about the artist |Rudi-Bio]]
[[> Look deeper|Rudi-Deeper]]
The next piece in the exhibition is to your right, we’ll just follow along the green wall until we reach the corner with the thriving flora.
[[> Great. Let’s go.|Corner]]
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<div class="control-text">Now, $name, let’s visit Emily Kennedy’s work. It’s just through the arched doorway ahead.
[[> Perfect, let's go.|Emily-1]]
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<span role="img" aria-label="You are standing at the green wall in front of the doorway."></span>
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[[Continue|KC]]
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[[Move ahead|Rachel]]
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<span role="img" aria-label="You face the white wall with the blue trim where it meets the floor. The doorway where you entered to experience Caroline Monnet's work is on the far left side of the wall. On the right, there hangs a large retangular frame containing a collage of animated shapes."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rachel" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>>[[Start]]
[[Essay]]
[[Floorplan]]
[[Artists]]
[[Info]]
<a href="https://www.instagram.com/host_project_/" target="_blank" style="font-size:12px;">Instagram</a><<nobr>>
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<div class="introduction-text" style="font-size: 13px!important; margin-top: 30px;"><center>Go to: [[Gallery Entrance |Gallery-Enter-Intro]] | [[Lou Sheppard |Lou-1]] | [[rudi aker |Rudi-2]] | [[respectfulchild |RC-1]] | [[Maggie Higgins |Maggie]] | [[Winnie Truong |Winnie]] | [[Emily Kennedy |Emily-1]]
| [[Séamus Gallagher |Seamus]] | [[Caroline Monnet |Caroline-1]] | [[Anna Binta Diallo|Anna]] | [[Rachel M Thornton |Rachel]] | [[KC Wilcox |KC]] | [[The Reading Room |Reading-Room]]</center>
<div style="margin: auto; text-align: center;"><img src="images/floorplan/fpall.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
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<p><b>rudi aker</b> is a wolastoqew auntie, artist, organizer, and curator from St. Mary’s First Nation in Sitansisk (Fredericton, New Brunswick) and, for now, a guest on Tiohtià:ke/Mooniyaang (Montreal, QC). Their artistic and research practices center relationality, placehood, and visibility with a focus on the traversal of (un)colonized spaces through conceptions of counter-cartographies and barrier-breaking. Their ongoing research-creation project, topographies of a homeplace, explores the boundaries of cartographic practice through beaded spatial representations – hand-held topographical maps accompanied by historically and personally informed auto-writing on site-specific experiences.rudi maintains an emerging curatorial practice and most recently acted as one-third of the curatorial team for the 5th edition of the Bienniale d’art autochtone contemporain presented in Tiohtià:ke/Mooniyaang in the Spring and Summer of 2020. rudi is currently finishing a BFA in Studio Arts at Concordia University and is the Exhibitions and Communications Coordinator at SBC Gallery of Contemporary Art.
https://rudiaker.com
<b>Anna Binta Diallo</b> is a multi-disciplinary visual artist who investigates memory and nostalgia to create unexpected narratives surrounding identity. She was born in Dakar (Senegal, 1983) and raised in Saint-Boniface, Winnipeg on the traditional territory of Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and the homeland of the Métis Nation. She completed her BFA at the University of Manitoba’s School of Fine Arts (2006) and received her MFA from the Transart Institue in Berlin (2013). Her work has been shown internationally. Anna Binta Diallo has been the recipient of multiple grants and honours, notably from The Canada Council for the Arts, The Conseil des Arts et des lettres du Québec, and Francofonds. In 2019, Diallo's work was selected as a shortlisted finalist for the Salt Spring National Art Prize. She is currently based in Montreal, or Tio’tia:ke, on the traditional territory of the Kanien’kehá:ka.
https://www.annabintadiallo.com
<b>Séamus Gallagher</b> is a non-binary photo and virtual reality artist currently based in K’jipuktuk (Halifax, Nova Scotia). They recently graduated from NSCAD University with a double major in Photography and Expanded Media (BFA 2019). Their work has shown in festivals/exhibitions across Canada, as well as in Germany, England, Switzerland and Los Angeles. They are the recipient of the 2017 AGO | AIMIA Photography Scholarship, the 2018 NSCAD Student Awards, and the 2019 BMO 1st Art! Awards. They were also recently longlisted for the 2019 Scotiabank New Generation Photography Awards.
https://seamusgallagher.ca
<b>Emily Kennedy</b> is a cellist and composer based in Fredericton, New Brunswick. Often seen collaborating with electronic musicians, dancers, visual artists, and songwriting projects, her personal practice is an opportunity to synthesize her classical training with her interests in improvisation, minimalism, field recordings, and pop music. She mulls over translation, repetition, self reflection, and time in her work, using loop and effect pedals to expand the possibilities of her instrument. She is a graduate of the performance program at the University of Ottawa and Wilfrid Laurier University. Her interest in performing and writing new music has brought her to Banff’s Concert in the 21st Century residency, the Britten-Pears: CAPPA program in Aldeburgh, UK, Montreal Contemporary Music Lab, RE:FLUX Festival in Moncton, NB with improv trio Terre Wa, and suddenlyLISTEN in Halifax, NS. She frequently performs with the Elm City String Quartet, and writes and sings for the duo Pallmer.
http://www.emily-kennedy.com
<b>Caroline Monnet</b> is a multidisciplinary artist from Outaouais, Quebec. She studied in Sociology and Communication at the University of Ottawa and the University of Granada (Spain) before pursuing a career in visual arts and films. Her work has been programmed internationally at the Palais de Tokyo (Paris), Haus der Kulturen der Welt (Berlin), TIFF (CAN), Sundance (US), Aesthetica (UK), Palm Springs (USA), Cannes Film Festival, Museum of Contemporary Art (Montréal), Arsenal Contemporary NY, Axenéo7 (Gatineau), Walter Phillips Gallery (Banff), Division Gallery (Montreal) and the National Art Gallery (Ottawa). In 2016, she was selected for the prestigious Cinéfondation residency in Paris. Her work is included in numerous collections including Quebec Museum of Fine Arts, National Art Gallery, RBC Royal Bank, and Museum of Contemporary Art Montréal. Recent exhibitions include the Whitney Biennial and the Toronto Biennale of Art 2019. 2021's upcoming exhibitions include the Schirn Kunsthalle (Frankfurt), the Eli and Edythe Broad Art Museum Michigan State University, The Koffler Gallery (Toronto) and a museum solo show at the Montreal Museum of Fine Art. She is based in Montreal and represented by Blouin Division Gallery.
https://carolinemonnet.ca
<b>respectfulchild</b> is an artist born, raised, and living as an uninvited guest on Treaty 6 Territory. Working in sound, performance, and interdisciplinary collaboration, their work explores the quiet tensions and chaotic beauty of being a queer Chinese settler on the prairies, ranging from spontaneous improvisation to meticulous composition.
https://respectfulchild.com
<b>Lou Sheppard</b> is a Canadian artist working in interdisciplinary audio, performance and installation based practice. They have exhibited work both in Canada and internationally, and have participated in residencies throughout Canada, in Europe and in the US. Sheppard’s artistic research reflects their background in critical theory and social activism. They are interested in languages, both as systems of notation and communication, as well as systems that structure and enact power. By looking to authoritative texts like taxonomies, environmental data, diagnostic criteria, and government policy, their work attempts to make these systems and structures of power legible. Using processes of metaphor, translation, semiotic shift, and close reading, their work is evidenced through written, graphic and visual scores. The performance of these scores often leads them to collaborate with communities and with other artists, including musicians, visual artists and performing artists.
http://lousheppard.com
<b>Rachel M Thornton</b> is an emerging artist and curator living in Sackville, NB, a part of the Siknikt District within the greater territory of Mi'kma'ki. Their fascination with understanding the cosmos has manifested itself as drawings, book works, and online projects. Rachel holds a BFA with distinction (2015) from Mount Allison University, Sackville, NB and an MA Fine Arts with distinction (2020) from the Open College of the Arts, Barnsley, UK.
https://www.rachel-thornton.com
<b>Winnie Truong</b> is a Toronto based artist working with drawing, cut paper, and animation to explore ideas of identity, feminism, and fantasy and finding its connections and transgressions in the natural world. She has exhibited her work internationally and was a 2017 recipient of the Chalmers Arts Fellowship. Her work has been included on the CBC program The Exhibitionists, and in her recent survey exhibition at Saw Gallery in Ottawa (ON). She has been an artist in residence at the Brucebo Scholarship in Gotland (Sweden) and a past resident at Doris McCarthy Fool’s Paradise in Scarborough (Ontario). Truong received her BFA from OCAD University.
https://www.winnietruong.com
<b>Maggie Higgins</b> is a multimedia artist, educator and mother based in Saint John, New Brunswick, which sits on the unceded territory of the Wolastoqiyik (Maliseet) and Mi’kmaq Peoples. Her work engages in the discussion of animal/human relationships and interactions, particularly the ways in which humans categorize and utilize animal species. Higgins holds a BFA from Mount Allison University (2014) and a BEd from the University of New Brunswick (2016). She has been honored with such recognitions as the Fred Ross Scholarship, Saint John Professional Visual Artist Fund Award, and The Originals Emerging Artist Award. Currently, Higgins works as a Foundation Visual Arts Instructor with the New Brunswick College of Craft & Design.
http://maggiehiggins.com/
<b>KC Wilcox</b> is an artist, designer and shopkeeper based in Menagoesg/Menahqesk (a.k.a. Saint John, New Brunswick, Canada). She graduated from NSCAD in 2014 with a Bachelor's degree in Design. She works in drawing, sculpture, and new media, and collaborates with people to create books and other types of experiences. Her most recent collaborations were with Amy Ash, for designing <i>Harbour: A Compendium</i> (2020), and <i>HOST / hostproject.net</i> (2021). KC’s studio work was presented at THIRD SHIFT (2020 & 2019), the Beaverbrook Art Gallery (2018), and Unlovable Gallery (2017). Her project <i>Shedding</i> was featured on the CBC program <i>The Exhibitionists</i>. In 2018, KC embarked upon a life-changing collaboration with her longtime friend, Emily Saab. Together, they established <a href="https://shopvisitors.ca/" target="_blank">Visitors</a>, a vintage & pre-owned clothing exchange and art+design shop, all in one space. KC is a former Executive Director of Connexion, an artist-run centre in Sitansisk (Fredericton, NB). She is a descendant of European settlers from the French and New England settlements. She lives and works 111 km from where she was born, on the unceded territory of the Wolastoqiyik, Mi’kmaq and Passamaquoddy Peoples.
https://kc-wilcox.format.com/
<b>Amy Ash</b> is an interdisciplinary artist engaged with collective care through processes of shared meaning-making. Her practice flows from curatorial projects and writing to teaching, socially engaged action, and hands-on making. Blurring the lines between disciplines, she traces connectivity through the intersections and overlaps between memory, learning, and wonder, to incite curiosity. Amy has exhibited and curated programmes internationally, with projects commissioned by The National Gallery London (UK), Gerald Moore Gallery, (UK), The NB International Sculpture Symposium, Beaverbrook Art Gallery, and Platform Centre for Photographic and Digital Arts (Winnipeg, Manitoba). Of settler ancestry, she lives in Menahqesk/Menagoesg/Saint John, New Brunswick.
<a href="http://amyash.ca/" target="_blank">www.amyash.ca</a>
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<h2>HOST will be live from June 17th to September 17th 2021.
We look forward to your next visit!</h2>
<b>ABOUT</b>
HOST is a borderless project. Part art exhibition and part walking simulator game, it exists entirely online. With animated walls, interactive navigation, and hyperlinked portals, HOST brings together works by eleven contemporary [[artists|Artists]] who offer glimmers of reciprocity by caring for the places where mutual understanding, appreciation, and hope take root amid the tangle of contemporary issues.
HOST was created using an open-source tool for telling interactive, nonlinear stories, called <a href="https://twinery.org/" target="_blank">Twine</a> (SugarCube 2.34.1)
<b>GRATITUDES</b>
HOST involves a community of creative practitioners——artists, curators, arts administrators, funders, and volunteers——from across the area of Turtle Island commonly referred to as Canada.
As I sit in my studio reflecting on HOST——a project centred on connectivity, support, and reciprocity——I would like to acknowledge, with gratitude and care, my privilege as an uninvited guest living and working in Menahqesk/Menagoesg/Saint John, New Brunswick. This place, which feels like home to me, sits on the unsurrendered and unceded territory of the Wolastoqiyik, Mi’kmaq, and Peskotomuhkati peoples. A territory covered by the “Treaties of Peace and Friendship”, first signed in 1726. The treaties did not deal with the surrender of land and resources, rather, they recognized Mi’kmaq and Wolastoqiyik title and established rules for the ongoing relationship between nations. Yet, clearly, there is much work to be done to balance the relationships between folks of colonial settler ancestry, contemporary settlers, and Indigenous people. I am grateful to make a life here, and I hope to tread lightly and respectfully, by holding space for complex intersections of knowledge, wisdom, and experience to cross-pollinate, seeding new ideas that help us grow together with this land.
Likewise, although we refer to HOST as a borderless project, we recognize that this online space is anything but neutral, and that participation in this project is dependent on various forms of accessibility, ability, and privilege. We have strived to make HOST as accessible as possible, and we will continue to do our work advocating for greater accessibility.
Finally, HOST was made possible through a community of support. Thank you, first and foremost, to each of the [[artists|Artists]] involved in this project. Thank you <a href="http://thirdspacegallery.ca" target="_blank">Third Space Gallery</a>, particularly Katie Buckley, whose support and trust made this project possible; to KC Wilcox who worked magic on the interactivity of the project design while also carefully tending to key conceptual frameworks; to Erin Goodine who is remaking <a href="https://www.instagram.com/host_project_/" target="_blank">HOST for social media</a>, curating an Instagram experience as an extension of the core project. Immense thanks also go out to Alex Ash, Emily Critch, Emily Saab, Neil Bonner, and the team of Third Space volunteers (Amelia Bailey, Jericho Knopp, John Murchie, Sofia Cristanti, and Ashley Henwood) who compiled ID tags for each image in the project.
HOST would not have been possible without the support of The Sheila Hugh Mackay Foundation, The NB Department of Tourism, Heritage and Culture, The Canada Council for the Arts, and, of course Third Space Gallery.
Lastly, thank YOU for visiting and engaging with HOST. Please feel free to share your experience with friends--guests are always welcome here. Although you may be kilometers or continents away, I hope you’ll find the space to pause and honour the complex ecosystems you inhabit and the layered history of the place where you find yourself.
These links may help you look deeper:
<a href="https://native-land.ca" target="_blank">Our Home On Native Land</a>
<a href="https://www.intersectionalenvironmentalist.com" target="_blank">Intersectional Environmentalist</a>
<a href="https://www.irsss.ca" target="_blank">Indian Residential School Survivors Society</a>
<a href="https://www.rainbowrefugee.com" target="_blank">Rainbow Refugee</a>
<a href="https://www.blacklivesmatter.ca" target="_blank">Black Lives Matter</a>
<a href="https://www.larche.ca" target="_blank">L’Arche</a>
<a href="https://www.nwac.ca" target="_blank">Native Women’s Association of Canada</a>
<a href="https://cafka21.cafka.org/summer-reading-series" target="_blank">CAFKA Summer Reading Series: White Elephant (by Shary Boyle)</a>
<a href="https://unistoten.camp/oneyear/" target="_blank">All Eyes on Wet’suwet’en</a>
<a href="https://enchantenetwork.ca/en/" target="_blank">Enchanté Network</a>
<a href="https://www.canadahelps.org/en/charities/waterfirst/" target="_blank">Water First</a>
<a href="https://jedinb.ca/iram" target="_blank">JEDI NB</a>
—Amy Ash
Curator
Contact: hostproject2021 [at] gmail.com
<img src="images/logos.png">
<h6><i>Version 1.1.3</i></h6>
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<center><div id="printPageButton"><button onClick="window.print()">Print this page</button><button style="margin-left:25px;"><a href="HOST-ESSAY.pdf" target="_blank" style="color: #666973!important;">Download the PDF</a></button></div></center><div id="introduction-box"><div class="introduction-text">
<center><h2>HOST</h2>
<sup>by Amy Ash</sup></center>
<p>Host is a progeny of the Latin word <i>hospes</i>, which refers to a person who receives a guest and the guest, stranger, or visitor themselves. The fluidity of this definition is significant in relation to customs of reciprocity: a person serving as a guest on one occasion would act as a host on another occasion.<sup>1</sup> Host is also a term for an organism which sustains the life of another, sometimes consensually, but oftentimes not. Whether in digital, spatial, community, science fiction, or biological terms, a host is the body relied upon for providing nourishment, care, or communication. Contemporary connotations of the word host, along with its many derivatives, refer to a vast web of meanings——a plethora (which itself is a synonym for host) of polarities and nuances. This project understands the term ‘host’ through its many definitions which link species, place, time, and machine. Thus it becomes a device with which to explore complex relationships in more-than-human worlds.<sup>2</sup>
HOST is a borderless project, bringing together works by eleven contemporary artists who offer glimmers of reciprocity mirroring those inherent in the title’s root word hospes.
Together rudi aker, Anna Binta Diallo, Séamus Gallagher, Maggie Higgins, Emily Kennedy, Caroline Monnet, respectfulchild, Lou Sheppard, Rachel M Thornton, Winnie Truong, and KC Wilcox reveal a complex rhizome of connectivity in the spirit of kinship.<sup>3</sup> Against the backdrop of a particularly inhospitable present, HOST conveys a pluriversal<sup>4</sup> study of relationships and care——places where mutual understanding, appreciation, and hope take root amid the tangle of contemporary issues.
I began the work of conceptualizing HOST before bodies around the world became carriers of a fast-spreading virus that forced us to rapidly adjust the ways in which we gather and enact community. My initial concerns for the project were rooted firmly in exploring the power of hospitality and xenophilia to subvert the rise of far right politics and subsequent hostility, divisiveness, and destruction. I hoped to eke out and magnify instances of care, reciprocity, and kinship as an act of resistance against xenophobia, tightening borders, and the escalating climate crises.
While HOST still enfolds these initial aims, it has the added layer of operating as an act of care in and of itself: care in seeing that artists are valued and paid; care connecting artists with one another and with audiences; and care in making contemporary art accessible for meaningful engagement in a time when many traditional spaces are closed.
<h2>COLLECTIVE CARE: Dismantling hierarchy in human communities</h2>
In its many functions, the word host is indicative of people, bodies, or components coming together. In the work of Lou Sheppard, rudi aker, and respectfulchild, possibilities for new forms of congregation emerge to cultivate emancipatory togetherness.
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<i>Murmurations (Park)</i>, Lou Sheppard, Digital Drawing, 28cm x 20cm, 2021</div>
Lou Sheppard’s work is an active system that responds to authoritative media, such as dictionaries, government research, policy, and environmental data. Their research uncovers uneven power structures and patterns of oppression in the language of commanding texts, and seeks alternative methods of communication. Their translations are at once playful, poetic and political. Sheppard creates choral and movement scores, installations, and performances to bring people together. Their recent performance and series of drawings <i>Murmurations: Scores for Social Distancing</i> responds to the utilitarian score of directional arrows that appeared in every public place during the pandemic. Leaning into the natural world as a teacher, Sheppard considers the possibility for collective movement through the flight patterning of birds. When birds flock in murmuration, they are operating as a whole organism—— responsive to one another<sup>5</sup>, no leaders, no followers, their awareness is one of complete reciprocity. In charting a human murmuration, Sheppard is choreographing an instance of collective care; care in keeping 6 feet apart, yes, but more importantly care in being part of a whole, a reminder of togetherness.
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Still image from <i>topographies of a homeplace: c/o Menahqesk</i>, rudi aker, in collaboration with Emily Saab, Video, 00:04:50, 2021</div>
rudi aker’s intricate beadwork topographies, with accompanying text and videos, chart the experience of inhabiting space while also establishing placehood. Their new work <i>topographies of a homeplace: in care of</i> forges connection in spite of geographic barriers underscored by current restrictions in mobility due to the pandemic. Aker, originally from St. Mary’s First Nation in Sitansisk (Fredericton, NB) is currently based on Tiohtià:ke/Mooniyaang (Montreal, QC), and the first iteration of this new work is centred on a location that holds little personal meaning for aker: Menagoesg/Menahqesk (Saint John, NB). Distance requires aker to form a kinship of co-creation that will allow them to experience the placehood of Menagoesg/Menahqesk, from afar. Aker works closely with co-creator, Emily Saab, who is on the ground in Menagoesg/Menahqesk. Aker understands this place only through Saab’s guidance, connecting deeply enough to configure a “visioning of the journey”<sup>6</sup>. In this sense, both aker and their co-creator embody a shared sympoiesis——guest, host, and place in a reciprocal state of becoming together. Learning the experience of their co-creator, aker translates an unknown placehood into a beaded topography. In an act dedicated to breaking barriers that are geographic, cultural, and inter-personal, aker builds kinship through a trust in reciprocal hospitality.
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Still image of the Word document containing <i>Host Family Potluck</i> by respectfulchild</div>
In contrast to aker’s non-hierarchical co-creation, respectfulchild confronts uneven power dynamics in practices of hospitality and welcoming. An interdisciplinary artist with a focus on composition, performance, and installation, respectfulchild’s work is a queer alchemy that breaks down barriers between genres, place, and culture, to unpick identity politics. Their practice sits vibrantly and poetically in the in-between and tells a layered and multi-sided story of belonging. As a queer Chinese settler born, raised, and living on Treaty 6 territory in the Canadian Prairies, there is a fluidity to their practice that echoes the “quiet chaos and beautiful tension”<sup>7</sup> of their lived experience, while reaching into the ever-present past and future. Respectfulchild’s new work <i>Host Family Potluck</i>, a composition of music and text, to be digested simultaneously, addresses the shortcomings of multiculturalism through food culture and misguided attempts at hospitality. The work is centred on customs of welcoming that remain entrenched in colonial mindset of feeding the commodification of cultural, ethnic, and racial differences to “enhance the white palate”<sup>8</sup>. Respectfulchild unmasks the systems of power in customs of hospitality by questioning who has the privilege of “welcoming” an-other? Who has the burden of being gracious for the welcome? And, finally, how can we generate balance?
<h2>SYMBIOSIS: Kinship in more-than-human worlds</h2>
Displays of kinship and reciprocity in more-than-human worlds flourish in the intimate works of Maggie Higgins and Winnie Truong.
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<i>Feral I</i>, Maggie Higgins, Oil and Enamel on Canvas, 36” x 48”, 2018</div>
Maggie Higgins is a carer of more-than-human worlds. She studies the world beyond her own biology, making space for kinship with animals——turning to other species for teachings, meaning, and insight. Higgins is a dedicated listener with a graceful ability to transmute her thoughts into visually eloquent narratives rooted in allegory. Operating skillfully within the chassis of painting and drawing, animals are often present and rendered with sensitivity in her works. Her relationship with Goose, a retired greyhound with whom she shares a home, is an account of kindred reciprocity. Versions of Goose feature often in Higgins’ work and, by the credit of the artist, an alliance of mutual deliverance has developed in the steady reliance their relationship yields. The lines of who-needs-who-most are beautifully blurred. In her work, <i>Feral I</i>, Higgins unsettles the familiar dynamic of owner and pet. Her work considers and dismisses the historical and cultural implications of domesticity for both dog and woman. Instead, Higgins offers an alternative where both species refute expectations, forging a new shared context of unbelonging to the domestic, and belonging with one another.
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<i>Pests For Guests</i>, Winnie Truong, Coloured Pencils and Cut Paper Collage, 30” x 22”, 2017</div>
The queer ecology of Winnie Truong’s peculiar ecosystems speak of the elaborate connectivity of the living world. Working within an expanded drawing practice, her intricate paper-cuttings, animation, and coloured pencil drawings present, at times, voyeuristic glimpses into complex relationships. Strange hybridized characters emerge, part flora part fauna, interconnected and attached. Her works prompt questions about where one body ends and another begins, reminding us that we are all inextricably linked and reliant on one another. <i>In Pests for Guests</i>, for example, one central figure appears to be handling a marshy frond, only to have the fronds surrounding it take the shape of hands reaching out to caress the figure in return. Truong has created a visual iconography of interconnectivity that is also reflected in her titles, such as <i>Passenger, Visitor, Feeder</i> among others. Through imagery and language she reminds us that the relations of interdependency between lifeforms are fluid and complex. A host in one scenario becomes a parasite in another. Truong’s work is a call to acknowledge the underrepresented reciprocity in human and more-than-human relations, and to embrace the queer ecologies where we find kin.
<h2>NURTURE: On being caring and responsible guests of this planet</h2>
The work of Emily Kennedy, Séamus Gallagher, and Caroline Monnet asks how we, as humans, can be better guests through ecological action and care.
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Still image from <i>Like Sand in Water</i>, Emily Kennedy, split screen video, 00:08:21, with original score.</div>
Emily Kennedy infiltrates the temporal structure of place through careful observations of her surroundings. Her work employs time-based media, primarily sound and photography, to set the stage for a dreamlike experience of time, encouraging a nuanced change of pace. A cellist and composer, she is a dedicated collaborator, working in fluid partnership with artists of all disciplines, as well as with the places she inhabits. Kennedy often collects field recordings and imagery that evidence states of being and becoming. She uses this documentation to reshape the experience of place, composing the remnants into images and echoes of itself. <i>Like Sand in Water</i>, is a split screen video and sound work that carefully surveils the unending flux of industrial activity along the coast in Kjipuktuk (Halifax). Borrowing the language of chemistry, Kennedy likens the industrial activity to a ‘suspension’, which is a heterogeneous mixture wherein the solute particles remain suspended and floating, refusing to dissolve.<sup>9</sup> In this metaphor industry is reimagined as particles that will not break down, causing the artist to muse over the saturation point of the planet itself. Kennedy’s work is a heavy but poetic exhortation to linger, take note, and manifest new realities.
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Still image from <i>Feel the Heat with Somebody</i>, Séamus Gallagher, Video, 00:03:40, 2020</div>
Séamus Gallagher’s work is characterized by fantasy and queer wonder——colourful spaces, costumery, and a remarkable balance between sincerity and sass. Concerned with intersections of community and belonging, they operate through media that is widely accepted as truthful, such as photography, to create fantastical spaces and scenarios rich in critical discourse. Taking liberties with the documentary history of lens-based media, Gallagher refashions our sense of temporal reality and expands the bounds of possibility, welcoming everyone into the fold of their queered ecologies. Their work, <i>Feel the Heat with Somebody</i>, is a darkly playful reckoning——a lament for the ongoing ecological crisis, as well as the hopelessness of passionate longing in the face of existential undoing. The work features a multiplicity of the artist’s drag persona, Sara Tonin, swaying with allure in an unearthly landscape. Whitney Houston’s ‘I Wanna Dance With Somebody’ plays in the background while record-breaking temperatures, a consequence of our environmental misuse and neglect, spread like hot flashes across Sara Tonin’s dress. In Sara Tonin’s performance, seemingly melodramatic displays of longing and gestures of intimacy make way for larger questions of care and support for one another and our home planet.
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Still image from <i>Ikwé</i>, Caroline Monnet, Short Film, 00:04:45, 2009</div>
With a prolific conceptually-driven practice that spans numerous disciplines, Caroline Monnet propounds a new social contract of reciprocity. Her work is a call from a potential future——a feminist future with Indigenous sovereignty, and a host planet that can feel the care of its inhabitants. Monnet often works with industrial material in her installation practice to discuss matters of care from both macro and micro perspectives. Her innovative use of materials and the synthesis of personal and collective narrative creates a hybridized visual-vocabulary for complex enquiries surrounding Indigenous identity, bicultural living, and futurity. In her film practice, her revisitation of archival material, traditional story, or historic motif can be read as a challenge of the status quo, and an opportunity to reimagine the future, changing what we know and how. Monnet’s film, <i>Ikwé</i>, narrated by the eco-feminist perspective of Grandmother Moon, tells a story of inter-generational communication and the human responsibility of caring, with respect and gratitude, for a planet that has given such abundance. Throughout her practice Monnet evokes the potential we have to enact care and make change, developing a contract of reciprocity——not only with one another, but with the soil beneath our feet and the waters that cradle the land.
<h2>COHESION: Dismantling barriers to connection</h2>
Anna Binta Diallo, Rachel M Thornton, and KC Wilcox tender vast expressions of cohesion to counter the barriers enforced by systems of power.
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<i>Freshwater Constellations</i>, Anna Binta Diallo. Commissioned composition of <i>Wanderings</i> for HOST.
<i>Freshwater Constellations, Turtouse (II), Sea Woman, Seagulls, Salmon, and Egg</i> from the <i>Wanderings</i> collage series (2019-2021)
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In Anna Binta Diallo’s work, borders cease to exist. The visual language of her collage-driven practice defies any singular cultural or geographic particularity, inviting the viewer to imagine a world where the invisible borders across the land and sea, proprietary marks delineating nations, are inconsequential. Through her eclectic blend of found imagery, Diallo creates migratory constellations of open-ended narrative possibilities, each image a question with countless answers. Her work investigates and embraces a sense of pluriversal belonging, validating a multitude of ways of being, existing simultaneously. In <i>Wanderings</i>, Diallo examines folk stories——through imaginary, personas, and places——and uses their foundations to build upon in the construction of new legends. <i>Wanderings</i> is a vast body of work that includes large-scale installations and animation constructed through collage material. Each work is characterized by a strong silhouette, with textures of found images filling the space within the contours. <i>Freshwater Constellations</i> signifies movement, connection and determination. Freshwater flows from place to place as tributaries link bodies of water through both visible and unseen pathways. Although Diallo’s work covers weighty concepts, ranging from issues of non-belonging, immigration, racism, and the refugee crisis, the work is hopeful, a reminder that migration adds richness, even in the face of widespread tightening of border control.
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<i>uranography (i-vi)</i>, Rachel M Thornton. 2020. 6 hand cut collages with AR video activations and accompanying downloadable zine. Collages: 30 x 43 cm (each). Printable zine: 22 x 28 cm (open), 11 x 7 cm (folded)</div>
Where Anna Binta Diallo nudges away the invisible geographic borders that divide nations and regions, Rachel M Thornton conveys an immense expanse of fluid connections and encourages outreach. Thornton draws attention to the universe as the ultimate host and stranger, guardian of life, and signifier of things unknown. Her work stitches together sundry strands of cosmic research combining science, speculative fiction, and mythology centred on touch. Created with print matter, found footage, and drawing, her augmented reality work <i>uranography (i-v)</i> transforms the night sky into a handheld wonder of haptic experience. In encouraging us to hold the universe in the palm of our hands, she reverses the role of host and guest. Plainly put, she encourages us to carry the universe, where it normally carries us. Using the myth of Urania, greek goddess of the night sky, as a starting point, Thornton invites us to explore and interact with the cosmos through tactility and play. In focussing on Greek mythology she also reflects the importance of xenophilia in encountering the unknown. As in Greek mythology, the ways in which a person receives a guest may determine their fate——whether or not they are turned into a tree or rewarded with prosperity<sup>10</sup>, for example. Gesturing to the significance of acts of welcome in mythological narrative is a sagacious reminder of our propensity for hospitable reciprocity.
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Various stills from HOST. Drawings, animations and code by KC Wilcox.</div>
KC Wilcox’s practice is vast; tributaries of sculpture, drawing and graphic design coalesce with collaboration, social activation, and space-making. Wilcox embraces everyday objects and occasions as opportunities to lightheartedly transmute deep meaning, and her playfulness invites others to seek the same curiosity. Recent projects cover difficult (and intertwined) truths, such as capitalist waste, ecological crises, and grief, with care and poetic grace. In her day to day, Wilcox is Co-director and Curator (along with Emily Saab) of Visitors, an experimental shop, gallery, and community-centric project space in Menagoesg/Menahqesk (Saint John, NB). Driven by an ethics of care, Wilcox nurtures the community, making space for artists to thrive by offering alternative models for exhibiting and selling work. Within the context of HOST, she has constructed our home. Building on her work as a social activator, combined with her design prowess, Wilcox has created the virtual space that holds us as we experience the project. She has responded to text and artworks to design and build an interactive virtual space that enlivens the exhibition and invites viewers to navigate a labyrinthine adventure beyond the confines of gallery walls. Wilcox channels the engaging discovery of early video games, breaking down art world barriers with a playful and fresh way to access meaning.
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Various stills from HOST. Drawings, animations and code by KC Wilcox.</div>
The term host is significant across a number of disciplines and industries, from epidemiology, clinical medicine, and biology, to computer sciences, web-design, tourism, hospitality, and entertainment. In each instance, the infrastructure of these areas has been greatly changed over the past eighteen months, both logistically and politically. Through the convergence of the pandemic, climate crisis, systemic racism, and social injustice, calls for change are emerging, ringing loud, clear, and true. And, with change, however necessary, often comes divisiveness. In the face of escalating discordance, the voices rudi aker, Anna Binta Diallo, Séamus Gallagher, Maggie Higgins, Emily Kennedy, Caroline Monnet, respectfulchild, Lou Sheppard, Rachel M Thornton, Winnie Truong, and KC Wilcox encourage us to meditate on instances of connection within our own lives. Together, they remind us that, in connections, reciprocity<sup>11</sup> is a requisite for true kinship, foundational to customs of care that sustain and nourish, with simultaneity, host, guest, and stranger.
What nourishes you? Where do you find sustenance? And, crucially, what do you do——what could you do——to nourish the worlds around you?</p>
<h6><i>1 https://www.merriam-webster.com/dictionary/host
2 Abram, David, The Spell of the Sensuous : Perception and Language in a More-than-Human World. New York :Pantheon Books, 1996
3 Haraway, Donna J, Staying with the Trouble: Making Kin in the Chthulucene. Durham; London: Duke University Press, 2016.(102)
4 Escobar, Arturo, Designs for the pluriverse : radical interdependence, autonomy, and the making of worlds. Durham ; London : Duke University Press, 2018.
5 https://www.npr.org/sections/13.7/2017/01/04/506400719/video-swooping-starlings-in-murmuration
6 aker, rudi. topographies of a homeplace: in care of, project description
7 respectfulchild. https://respectfulchild.com/about/
8 hooks, bell. Black Looks: Race and Representation. Boston, MA: South End Press, 1992. Print
9 https://chem.libretexts.org/Courses/University_of_Kentucky/UK%3A_CHE_103_-_Chemistry_for_Allied_Health_(Soult)/Chapters/Chapter_7%3A_Solids%2C_Liquids%2C_and_Gases/7.6%3A_Colloids_and_Suspensions
10 Smith, Ali, Writers and Company, CBC radio interview, Monday, Oct. 13, 2014
11 Kimmerer, Robin Wall, Braiding Sweetgrass. Minneapolis, Minnesota: Milkweed Editions, 2013.
The use of “more-than-human” as a descriptor for the living decentralizes the human position within shared ecosystems, considering all lifeforms to be bodies, non-human persons, citizens, or more-than-human beings.</i></h6>
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<div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center>[[Continue|Gallery-Enter-Intro]]</center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpexit.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in the gallery entrance, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
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<div class="control-text" style="color:#fff!important;">You’re alone. As your eyes adjust to the darkness you see a single pod chair. As you relax into the egg-shaped chair, it swivels to face the back of the room and [[the far wall comes to life. |Caroline]]
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<div class="control-text">This is a new video work—— in order to really get the full experience with sound and screen size, I recommend you have a seat on the bench and [[look closer.|Emily-closer]]
Or,
[[> Read about the work |Emily-text]]
[[> Learn about the artist |Emily-bio]]
[[> Look deeper |Emily-Deeper]]
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<p><h2>The term host</h2> is significant across a number of disciplines and industries, from epidemiology, clinical medicine, and biology, to computer sciences, web-design, tourism, hospitality, and entertainment. In each instance, the infrastructure of these areas has been greatly changed over the past eighteen months, both logistically and politically. Through the convergence of the pandemic, climate crisis, systemic racism, and social injustice, calls for change are emerging, ringing loud, clear, and true. And, with change, however necessary, often comes divisiveness. In the face of escalating discordance, the voices rudi aker, Anna Binta Diallo, Séamus Gallagher, Maggie Higgins, Emily Kennedy, Caroline Monnet, respectfulchild, Lou Sheppard, Rachel M Thornton, Winnie Truong, and KC Wilcox encourage us to meditate on instances of connection within our own lives. Together, they remind us that, in connections, reciprocity is a requisite for true kinship, foundational to customs of care that sustain and nourish, with simultaneity, host, guest, and stranger.
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<center>[[What nourishes you? Where do you find sustenance? |Outro-2]]
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<div class="intro-control-text">Great. Decide where you want to go next by viewing the [[floorplan.|Floorplan]]
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<div id="intro" style="position:absolute!important">
<div class="bg-tracking-in-expand-end">
<div class="intro-wall-table">
<div class="title-text">
<center><h1>And, crucially, what do you do<br>
—what could you do—<br>
to nourish the worlds around you?</h1></center></div></div></div>
</div>
<div id="very-slow-delay-fade-in"><div class="ending">
<h2>
And, crucially, what do you do—what could you do—to nourish the worlds around you?</h2>
<center><button><a href="https://docs.google.com/document/d/1zg4K4PWJWbkj7WMkpCDfDIX9r_LHxRwqzL70edlYuxM/edit?usp=sharing" target="_blank">Share your answer!</a></button></center>
<iframe src="https://docs.google.com/document/d/e/2PACX-1vRt6J7hd6TwNrpA1fbs25iUCm1-_E1VmJWHQlf5ppd3XUnJ8TWP6LCc5Y6Q7VJ7C5gCgpGNfBevWl8K/pub?embedded=true" style="max-width: 100%; width: 100vw; max-height: 100%;height: 100vh;"></iframe>
<center><button><a href="https://docs.google.com/document/d/1zg4K4PWJWbkj7WMkpCDfDIX9r_LHxRwqzL70edlYuxM/edit?usp=sharing" target="_blank">Share your answer!</a></button></center>
</div>
</div>
<div id="very-slow-delay-fade-in"><div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Thank you!|Info]]
</div>
</div>
</div></div><<nobr>>
<style>
body {
background-color: #ffffff;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<video autoplay muted loop playsinline id="rudi-video">
<source src="video/rudi-clipw.mp4" type="video/mp4">
</video>
<div id="exhibition">
<div id="draggable" class="resizable"><div class="artist-text">
<p>
<p class="awesome">rudi aker</p> is a wolastoqew auntie, artist, organizer, and curator from St. Mary’s First Nation in Sitansisk (Fredericton, New Brunswick) and, for now, a guest on Tiohtià:ke/Mooniyaang (Montreal, QC). Their artistic and research practices center relationality, placehood, and visibility with a focus on the traversal of (un)colonized spaces through conceptions of counter-cartographies and barrier-breaking. Their ongoing research-creation project, <i>topographies of a homeplace</i>, explores the boundaries of cartographic practice through beaded spatial representations——hand-held topographical maps accompanied by historically and personally informed auto-writing on site-specific experiences.rudi maintains an emerging curatorial practice and most recently acted as one-third of the curatorial team for the 5th edition of the Bienniale d’art autochtone contemporain presented in Tiohtià:ke/Mooniyaang in the Spring and Summer of 2020. rudi is currently finishing a BFA in Studio Arts at Concordia University and is the Exhibitions and Communications Coordinator at SBC Gallery of Contemporary Art.</p>
<p></p>
<p>https://rudiaker.com
</p>
<div class="tooltip" style="text-align: center;">[[Close |Rudi-2]]
</div>
</div></div>
<div class="rudi-floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Rudi-Closer]]
[[> Read about the work |Rudi-Text]]
[[> Look deeper|Rudi-Deeper]]
[[> Go back|Rudi-2]]
</div>
</div>
</div>
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<</script>>
<<script>>
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<</script>><style>
body {
background-image: url(images/twinkleday.gif);
background-size: cover;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="fast-fade-in">
<div id="intro" style="position:absolute!important; background-image: url(images/readingroom.png);
background-repeat: no-repeat;
background-size: cover;
background-position: center top; top: 0px;"></div>
<div class="intro-wall">
</div>
</div>
<div id="controlbox">
<div class="control">
<div class="control-text">Make yourself at home here. You can have a seat at the desk or on the plush carpeted floor, talk to the plants or [[look out the window|library-window]]. Let yourself get lost. [[Look deeper|Readinglist]] to peruse the collection. And feel free to leave reading recommendations for future visitors!
Or,
[[> Exit the reading room|End-1]]
</div>
</div>
</div>
<span role="img" aria-label="You stand in the reading room. The light has changed. How time has gone by?"></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rr" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
body {
background-color: #ffffff;
}
.floor {
background-color: #0f0f1b;}
#seamus-video {
position: fixed;
right: 0;
top: 0;
height: 100vh;
width: 100vw;
object-fit: cover;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="draggable" class="resizable"><div class="artist-text"><p class="awesome">Rachel M Thornton</p> is an emerging artist and curator living in Sackville, NB, a part of the Siknikt District within the greater territory of Mi'kma'ki. Their fascination with understanding the cosmos has manifested itself as drawings, book works, and online projects. Rachel holds a BFA with distinction (2015) from Mount Allison University, Sackville, NB and an MA Fine Arts with distinction (2020) from the Open College of the Arts, Barnsley, UK.
<p></p>
https://www.rachel-thornton.com
<p></p>
<div class="tooltip" style="text-align: center;">[[Close |Rachel]]</div>
</div></div>
<video autoplay muted loop playsinline id="seamus-video">
<source src="video/rachel-clip.mp4" type="video/mp4">
</video>
<div id="exhibition">
</div>
<div class="rachel-floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text">[[> Look closer|Rachel-Closer]]
[[> Read about the work |Rachel-Text]]
[[> Look deeper|Rachel-Deeper]]
[[> Go back|Rachel]]
</div>
</div>
</div>
<<script>>
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<</script>>
<<script>>
$(document).one(":passagerender", function(event) {
// Passage is about to be displayed.
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});
<</script>><<nobr>>
<style>
body {
background-image: url(images/kc3.gif);
background-size: contain;
background-color: #93999e;
background-position: top center;
background-repeat: no-repeat;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="draggable" class="resizable"><div class="artist-text"><p><p class="awesome">KC Wilcox</p> is an artist, designer and shopkeeper based in Menagoesg/Menahqesk (a.k.a. Saint John, New Brunswick, Canada). She graduated from NSCAD in 2014 with a Bachelor's degree in Design. She works in drawing, sculpture, and new media, and collaborates with people to create books and other types of experiences. Her most recent collaborations were with Amy Ash, for designing <i>Harbour: A Compendium</i> (2020), and <i>HOST / hostproject . net</i> (2021). KC’s studio work was presented at THIRD SHIFT (2020 & 2019), the Beaverbrook Art Gallery (2018), and Unlovable Gallery (2017). Her project <i>Shedding</i> was featured on the CBC program <i>The Exhibitionists</i>. In 2018, KC embarked upon a life-changing collaboration with her longtime friend, Emily Saab. Together, they established <a href="https://shopvisitors.ca/" target="_blank">Visitors</a>, a vintage & pre-owned clothing exchange and art+design shop, all in one space. KC is a former Executive Director of Connexion, an artist-run centre in Sitansisk (Fredericton, NB). She is a descendant of European settlers from the French and New England settlements. She lives and works 111 km from where she was born, on the unceded territory of the Wolastoqiyik, Mi’kmaq and Passamaquoddy Peoples.
</p>
<div class="tooltip" style="text-align: center;">[[Close |KC]]</div>
</div></div>
<div id="exhibition">
<div class="wall">
<div class="art"></div>
</div>
<div class="floor"> </div>
</div>
<</nobr>>
<div id="controlbox">
<div class="control">
<div class="control-text"> Here we have series of work by Lou Sheppard...
[[> Read about this piece |KC-Text]]
[[> Look Closer|KC-Closer]]
[[> Look Deeper|KC-Deeper]]
[[> Go back |KC]]
</div>
</div>
</div>
<<script>>
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<</script>>
<<script>>
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});
<</script>><style>
body {
background-image: url(images/videoroom-caroline.jpg);
background-repeat: no-repeat;
background-size: cover;
background-position: center top;}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="intro">
<div class="intro-wall">
</div>
</div>
<div id="controlbox">
<div class="control" style="background-image: url(images/textbox-dark.png)!important;">
<div class="control-text" style="color:#fff!important;">As the film finishes, you sit a moment longer in the chair, reflecting on your place in the world. Rising to leave, you’re surprised when you [[look up|look-up]].
</div></div></div>
<span role="img" aria-label="The room remains dark. The pod chair faces you."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-caroline" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><style>
body {
background-image: url(images/videoroom-caroline.jpg);
background-repeat: no-repeat;
background-size: cover;
background-position: center top;}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="intro">
<div class="intro-wall">
</div>
</div>
<div id="controlbox">
<div class="control" style="background-image: url(images/textbox-dark.png)!important;">
<div class="control-text" style="color:#fff!important;">Bewildered, you go back towards the
arched doorway.
[[> Read about the work |Caro-Text]]
[[> Learn about the artist |Caro-bio]]
[[> Look deeper |Caro-Deeper]]
[[> Exit the space |Interlude-4-a]]
</div></div></div>
<span role="img" aria-label="The room remains dark. The pod chair faces you."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-caroline" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
body {
background-image: url(images/milky-way.gif);
background-repeat: no-repeat;
background-size: cover;
background-position: left top;}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="intro" style="position:absolute!important">
</div>
<</nobr>>
<div id="controlbox">
<div class="control-mini-dark">
<div class="control-text-mini">
[[Look down|Caro-3]]
</div>
</div>
</div>
<span role="img" aria-label="A night sky filled with stars reveals itself overhead. Against this backdrop, a series of undulating rainbow-colored lines fade in and out."></span><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
background-size: cover;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/04_Nine Songs for New York.jpg" alt="An image of a 3 x 3 grid, containing nine different black-and-white images. Each image shows a series of abstract, geometric patterns that resemble sound waves or sheets of music. They were based on spectrograms of endangered birds.">
<div class="tooltip" style="color: #666973!important; max-width: 700px; text-align: center; margin:auto;">
<i>Nine Songs for New York (Grid View),</i> 2019, Digital Drawings- 25cm x 28cm</div>
<div class="deeper-text">
Nine scores based on spectrograms of endangered birds in New York State. Recently performed as part of “Artificial Dawn”, with Carlos Aguilar, Simone Baron, Robert Fleitz, Carrie Frey, Alec Goldfarb, Giancarlo Latta, Helen Newby, Erin Rogers and Clara Warnaar, at Scholes Street Studio in Brooklyn, NY.
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Lou-Deeper-3]]
</div>
</div><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
background-size: cover;
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/05_Colour Guard Atlantic Flyway.jpg" alt="An image of a circle with a thick black border and two wispy lines hugging the outside of the circle on the left and the right. There is an S at the top of the circle that is slightly to the right and an N at the bottom of the circle that is slightly to the left. There is a diagonal straight line inside of the circle that goes from the S to the N. The inside of the circle is half black and half white; the black portion fades into the white portion in a chunky three tone gradient. Each shade of grey becomes lighter as it approaches the white half. What apppears to be a description of a baton twirling routine is written on the top black half of the circle in white lettering and on the lower white half of the circle in gray lettering. The words: baton, high, foot, steps, slide, with, arms, spin shoulders, both, face, hands, pass, hundle, head, and twist, are legible. The words are spaced out as if to reflect timing of the movements in the routine. The typography consists of a sans-serif in a small letter size. The words on the two circle halves are reflected. The portion on the black half is right-side up.
">
<div class="tooltip" style="color: #666973!important; max-width: 700px; text-align: center; margin:auto;">
<i>Colour Guard, Atlantic Flyway (Score)</i> 2020
Score for Performance, first performed for Saltbox Festival in Corner Brook, Nfld, 2020
Digital Drawing - 25 cm x 25 cm</div>
<div class="deeper-text">
Zugunruhe, or migratory restlessness, is an 19th century ornithological term describing a strange phenomenon found in caged birds. During spring and fall birds would flutter against the bars of their cages in their migratory directions, proving to researchers that the urge to migrate is innate, not circumstantial, and that birds possess an internal navigation system similar to a compass.
We are at the precipice of the next mass extinction event, heralded by the loss of migratory bird populations along the Atlantic Flyway. The fluttering of zugunruhe echoes the lost populations of birds missing from their annual migrations, those preserved in museums, those who have gone extinct. How might we remember these lost birds? How do we mourn our current climate crisis? From within a capitalist industrialized present how do we hold a militarized, colonial history to account? When the rituals and memorials of this history are re-membered and re-performed can we see what future has been irrevocably changed and lost?
Traditionally a colour guard is a prestigious unit within a state military charged with protection of powerful symbols such as flags and regimental colours. Members of a military colour guard wave brightly coloured flags, throwing and twirling sparkling batons to signal the army's presence and give hope to lost soldiers in the battlefield. A wing fluttering against a cage, a baton twirling restlessly at dusk. <i>Colour Guard, Atlantic Flyway</i> is a performance and installation at Margaret Bowater Park, honouring these species that have been lost, and signalling to those still left.
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Return|Lou-1]]
</div>
</div><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/Book detail1.png" alt="A poster by rudi aker with bold italic black letters against a white background. It reads: ‘take it away / the medicine man / left his footprint / it’s church land and / the chief resigned / they flooded the / farm and made / the river grow / Glooscap / should have left / the frog alone / give it back’.">
<div class="deeper-text">
<i>topographies of a homeplace</i> is multimedia work engaging with topographical beadwork to explore counter-cartographic mnemonic narratives. this project began in the form of a book, images of the beaded topographies accompanied automatic prose divulging into the memories of spaces near and defined by water. since its conception it has also evolved into a mobile practice of community-building and communal memory making and sharing.
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Rudi-Deeper-3]]
</div>
</div><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/Book detail 2.png" alt="An image of a small sculpture made of glass beads held together with wire and woven to create a beaded sculpture. The beads are red, black, blue, and yellow, and are surrounded by a dotted black oval, with the word “eqpahak” typed along the bottom right edge of the oval.">
<div class="deeper-text">
<i>topographies of a homeplace</i> is multimedia work engaging with topographical beadwork to explore counter-cartographic mnemonic narratives. this project began in the form of a book, images of the beaded topographies accompanied automatic prose divulging into the memories of spaces near and defined by water. since its conception it has also evolved into a mobile practice of community-building and communal memory making and sharing.
</div>
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Next|Rudi-Deeper-4]]
</div>
</div><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
<div class="art-closer-solo"><img src="images/lookdeeper/Book detail 3.png" alt="A poster by rudi aker with bold italic black letters against a white background. It reads: ‘i think of its name because savage sav- / -age savage island was inappropriate / i think of how the colonial records are / changed because it wasn’t a surname / (but the name of where / the indians went) / ((where the current stops flowing)) / (((where we had always lived))) / i think of my papa and / the stories he carries / (((eqpahak holds them too)) / i think of dandelion wine when / my grandparents were young / i think of my sister and / and the skunk cabbages / i think of our first time picking / i think of the key and the grocery bag / i think of carnival time / i think of 1 dollar leases for 100 years / i think of 100 dollar leases for 999 years / i think of 3000 years of evidence / i think of 5000 years of existence / i think about when the current ends / i think about when the current will end / i think about 3000 more years / i think about 100 more years / i think of my sister / i think of my papa’">
<div class="deeper-text">
<i>topographies of a homeplace</i> is multimedia work engaging with topographical beadwork to explore counter-cartographic mnemonic narratives. this project began in the form of a book, images of the beaded topographies accompanied automatic prose divulging into the memories of spaces near and defined by water. since its conception it has also evolved into a mobile practice of community-building and communal memory making and sharing.
</div></div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Leave|Rudi-2]]
</div>
</div><style>
body {
background-color: #fff;
background-image: url(images/floorplan-bg.jpg);
}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition" style="flex-direction: column!important; align-items: center!important;"><div class="deeper-text">
<div class="video-frame-container"><iframe class="responsive-iframe" width="660" height="415" src="https://www.youtube.com/embed/oYTelfo3QUY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen alt="A video shot in the first person. We see a hand open the door to enter a Chinese grocery store. The camera passes a freezer then turns right. We see the artist kneeling on the floor behind a series of pedals and cords, holding an electric violin and wearing a bright red jumpsuit. A row of white chains hang from the artist’s black bucket hat, covering their face. As the video progresses, the artist begins plucking a melody. They stand, then walk backwards facing the camera, as they go through the aisles of the store playing the violin."></iframe></div>
Live at Chung Wa Chinese Grocery
In The Shadow Of The Pines by Anne Koizumi (original soundtrack)
</div>
</div>
<div class="control-mini">
<div class="control-text-mini">
[[Leave|RC-1]]
</div>
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body {
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<div class="art-closer-solo"><img src="images/lookdeeper/Black-Flock.png" style="max-width:100%;" alt="A pair of drawings by Maggie Higgins featuring black geese with red eyes and orange beaks that are white and yellow at the tip. They are framed from the neck up in a close-up, side-profile view, on a white backdrop. The drawing on the left presents a pair of geese in a heart-shaped embrace. Their curved necks enter the center of the picture from the bottom of the frame. They are posed resting their heads gently on the back of the other’s neck. The drawing on the right presents a single goose. Its long curvy neck enters the frame from the top left corner. Its head is positioned in the bottom right quarter of the frame. It appears as though the geese are looking towards the viewer.">
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<i>Black Flock series</i>, Maggie Higgins
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<iframe width="560" height="315" src="https://www.youtube.com/embed/RAr4xlQNKqk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><div class="credit">
Filmmaker: Matthew Brown</div>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/GallagherS_ASlipperyPlace3_2018_01_72dpi.jpg" style="max-width:80%;" img="The artist Séamus Gallagher poses in a dress made of geometric, multisided red balls with yellow and green highlights. She is wearing a yellow headpiece that looks like a coral formation or a cloud, and is surrounded by pointed crystals of blue, brick red, lime green and purple, on a background of black rock."></center>
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<i>A Slippery Place</i>
Inspired equally by drag culture and video game aesthetics, <i>A Slippery Place</i> touches on themes of identity, embodiment, and fantasy. Through a process of converting digital 3D renderings into paper models, I have constructed drag-influenced costumes, wigs, and masks that I wear for this series of self-portraits. By staging these photographs within sets created from images of video game environments, I am interested in the queering of virtual spaces and blurring the binary of the digital and the physical.
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<iframe class="responsive-iframe" src="https://player.vimeo.com/video/355916925" width="940" height="638" frameborder="0" id="A video featuring the masked performer Sara Tonin. As she moves through a constructed stage of images of bouquets of fake flowers, there is spoken word addressing concepts of mimicry, embodiment, and desire." allow="autoplay; fullscreen; picture-in-picture" allowfullscreen></iframe></div>
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<i>THINKING OF YOU THINKING OF ME</i> is a video featuring the masked performer Sara Tonin. As she moves through a constructed stage of images of bouquets of fake flowers, there is spoken word addressing concepts of mimicry, embodiment, and desire.
<div class="credit">This project was originally created for Art in the Open 2019, curated by Julia McMillan. Thank you to Spencer Clerk, Cody Chandler, and Wren Morris for the lighting/camera work.</div>
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<<if not hasVisited("Seamus-Closer")>>[[Leave|Seamus]]<</if>><<if hasVisited("Seamus-Closer")>>[[Leave|Seamus-2]]<</if>>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/THE HOST- Passenger, Visitor, Feeder_20x24.jpg" style="max-width:80%;" alt="A faceless figure on its hands and knees with a faceless faun-like figure nursing its breast while a smaller third figure rides on the back of the first with all three aside a floating cloud with minimal vegetative growth which seems to probe each of the three figures."></center>
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<i>Passenger, Visitor, Feeder</i>, Winnie Truong, Coloured pencils and cut paper, 24" x 20", 2016
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<div class="video-frame-container"><iframe class="responsive-iframe" src="https://player.vimeo.com/video/553924862?autoplay=1&loop=1&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen alt="Throughout the video a grey orifice is encircled by a rime of green leaves and an outer circle of quivering leaves which act as a stage and curtain to four sequences of floral activity."></iframe></div><script src="https://player.vimeo.com/api/player.js">
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<i>Garden Variety</i>, Winnie Truong, 1:23, Stop Motion animation loop, 2019.
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<div id="exhibition" style="flex-direction: column!important; align-items: center!important;"><div class="video-frame-container"><iframe class="responsive-iframe" width="760" height="515" src="https://www.youtube.com/embed/FEDqIa7ki5w" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
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<div class="credit">Caroline Monnet, <i>Creatura Dada</i> 2016, HD video, 3:03mins, Courtesy of the artist and Galerie Division, Montreal</div>
<i>CREATURA DADA</i>
Without dialogue
Directed by Caroline Monnet
Commissioned by Festival du Nouveau Cinéma
Synopsis:
Six powerful native women gather up to celebrate a new beginning and the end of the world as we know it.
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Written and Directed by Caroline Monnet
Cinematography by Eric Cinq-Mars
Editing by Sébastien Aubin & Caroline Monnet
Music by Daniel Watchorn, Sébastien Aubin & Simon Guibord
Online by Martin Gaumond
Sound mix by Andreas Mendritzki
With the participation of Alanis Obomsawin, Nadia Myre, Swaneige Bertrand,
Nahka Bertrand, Emilie Monnet, Caroline Monnet, Stefan St-Laurent
Produced in association with Festival du Nouveau Cinéma & Desc images</div>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/07_CM_2018_LikeShipsintheNight_ExpositionView.jpg" style="max-width:80%;"></center>
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Solo Exhibition (installation detail), Walter Phillips Gallery, Banff, AB, 2018
Featuring video installation and sculptural work <i>Promixa I, II, III, IV, V</i>
Concrete, Foam, Varnish </div>
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<i>Like Ships in the Night</i> centres around a twenty-two-day journey across the Atlantic Ocean that the artist took in the summer of 2012, and documented via handheld Mini DV. Covering a fifth of the earth’s surface, the Atlantic Ocean has seen war, exchange, hope, greed, migration, and plunder. The imagery of the journey is dotted by markers of industry, refracted light, ships as shadows in the distance, and boiler rooms of infinite gauges; with Morse code and jamming radio signals providing a continuous backing track. Caroline Monnet here critiques the colonial, industrial and economic interchange between Canada and Europe as an indigenous woman. </div>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/wanderings_annabintadiallo20202_creditRachelTohphamPhotography2 copy.jpg" style="max-width:80%;" alt="On a white wall a silhouette of a human form made of collage material is holding a bow and arrow and stands atop a (large scale? unproportionally large?) rabbit. On the floor in front of the wall is a free-standing silhouette of a human form crouched with arms casually outstretched. The collage material used to create the silhouettes consists of nature photography and drawings, topographical maps and Indigenous artworks."></center>
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Installation details and text below from <i>Wanderings</i>, a 2019 solo exhibition at Towards Gallery, Toronto
Developed primarily during a residency at the Banff Centre earlier this year, the work within the exhibition expands on her ongoing investigation into themes of migration, displacement, personal mythologies, and the relationship between language, history, and identity.
Taking the form of a large scale, site-specific installation, Diallo creates an immersive environment with a multitude of characters. Employing a mix of both collage and sculpture, the silhouettes of human and animal forms are constructed from a variety of source material. Spanning science, literature, and historical photography, the characters within the staging reference a diverse set of stories——extending to creation myths, autobiographical accounts and forgotten histories.
As the stories we tell ourselves shift and transform over time, at the center of Diallo’s work remains a fundamental question——How does one try to reconcile the complex, and often times conflicting elements of one’s own identity?
<div class="credit">Image credits: Rachel Tohpham Photography</div>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/wanderings_annabintadiallo20203_creditRachelTohphamPhotography3 copy.jpg" style="max-width:80%;" alt="On a white wall there is a silhouette of a cowboy made of collage material standing beside a cut out photo of a cactus. On the floor in front of the cowboy are two freestanding cut-out silhouettes of human forms. The figure to the right is reaching out both arms towards the figure on the left who holds an arm up in front of their face. The collage material used to create the silhouettes consists of nature photography and drawings, topographical maps and Indigenous artworks."></center>
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Installation details and text below from <i>Wanderings</i>, a 2019 solo exhibition at Towards Gallery, Toronto
Developed primarily during a residency at the Banff Centre earlier this year, the work within the exhibition expands on her ongoing investigation into themes of migration, displacement, personal mythologies, and the relationship between language, history, and identity.
Taking the form of a large scale, site-specific installation, Diallo creates an immersive environment with a multitude of characters. Employing a mix of both collage and sculpture, the silhouettes of human and animal forms are constructed from a variety of source material. Spanning science, literature, and historical photography, the characters within the staging reference a diverse set of stories——extending to creation myths, autobiographical accounts and forgotten histories.
As the stories we tell ourselves shift and transform over time, at the center of Diallo’s work remains a fundamental question——How does one try to reconcile the complex, and often times conflicting elements of one’s own identity?
<div class="credit">Image credits: Rachel Tohpham Photography</div>
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<div class="art-closer-solo"><center><img src="images/lookdeeper/4 Anna Binta Diallo Almanac 1.jpg" style="max-width:80%;"></center>
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<I>Almanac I</i>, from a series of 12 12”x12” works, Printed on Entrada archival, 100% cotton (300 g/m)</div>
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“My recent work <i>Wanderings</i> considers how folk stories influence the formation of identity. It's by researching many creation myths and folklore that I began contemplating how the complexity of human life and storytelling is so entangled with nature and our ecological surroundings. The Almanac Print series I created for Undecimals is an explorational narrative, which blends histories of human life, nature, and ecology, through visual storytelling. Each composition contains the same elements, and each composition tells a different story.”
——Anna Binta Diallo
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<div class="art-closer-solo"><center><img src="images/lookdeeper/5 Almanac II.jpg" style="max-width:80%;"></center>
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<I>Almanac II</i>, from a series of 12 12”x12” works, Printed on Entrada archival, 100% cotton (300 g/m)</div>
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“My recent work <i>Wanderings</i> considers how folk stories influence the formation of identity. It's by researching many creation myths and folklore that I began contemplating how the complexity of human life and storytelling is so entangled with nature and our ecological surroundings. The Almanac Print series I created for Undecimals is an explorational narrative, which blends histories of human life, nature, and ecology, through visual storytelling. Each composition contains the same elements, and each composition tells a different story.”
——Anna Binta Diallo
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[[Leave|Anna]]
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<b>About <i>uranography (i-vi)</i></b>
"The night sky has long been a source of inspiration and imagination throughout human history. Absent of physical material, outer space begs to be filled with mythological narratives, speculative fiction and scientific information. The body of work uranography proposes an alternative theory for the development of the observable cosmos based on understanding the night sky through touch. This series of poetic assemblages considers our bodily relationship to galactic bodies of unfathomable scales at incomprehensible distances, through a series of collages and accompanying zine with AR activations. Combining newly imagined and pre-existing stars, galaxies and constellations to create a new arrangement of the cosmos that quietly comes to life through movement and interaction. Using print, found footage and drawing, the impossible relationship of physically touching the incomprehensibly large, intangible celestial bodies that lie beyond human knowledge is connected to a handheld, knowable scale.
Animating a new proposition for the ordering of stars in the night sky, these works draw upon the history of astronomy, celestial cartography and cosmological representations of the cosmos. The colleges and augmented reality videos draw attention to the myths represented by feminine characters, and the violence they are often victim to in mythology.
Using a smartphone as a window within which to activate the work, the AR video works are triggered by pointing phones or tablets at the works on paper, showing video, animation and digital images on top of/melded with the physical works. A free printable zine is available as a downloadable version, which can be printed out at the viewer’s home, and activated with the AR app as described on the microsite."
——Rachel M Thornton
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font-size: 16px;
font-family: 'VT323', monospace!important;
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<div class="anna-wall"><img src="images/anna-binta-full.jpg" alt="On the white wall, there are two geese flying to the left, above a blue shape. Three salmon are on the bottom of the wall, their fins colored green, blue and red. A cutout of a human in the sitting position looks down at the blue object in their hands. Next to them is a pink colored elk/moose. On the grey floor sits a turtle with an orange body, and an egg that seems to have hatched."></div>
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<div class="textbox-tooltip-desktop"><p>Move around to examine</p></div><div class="textbox-tooltip-intro" style="margin-bottom:50px;"><p>Pinch to resize. Move around to examine.</p></div></div>
<div class="anna-caption"><i>Freshwater Constellations</i>, Anna Binta Diallo. Commissioned composition of <i>Wanderings</i> for <i>HOST</i>. <i>Freshwater Constellations, Turtouse (II), Sea Woman, Seagulls, Salmon, and Egg</i> from the <i>Wanderings</i> collage series (2019-2021).</div>
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[[Go back|Anna]]
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<span role="img" aria-label="You move closer. The artwork now takes up most of the wall."></span><style>
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<div class="intro-control-text">Lastly, please feel free to spend as much time as you like here——this place is for you. You can <b>save</b> your progress in the menu at any time by clicking <b>“Saves”</b>. This allows you to choose your pace, taking breaks and re-entering exactly where you left off. Here, visitors are rewarded for keeping a slower pace. You may also want to be mindful that variables outside of our control may impact loading times, so if nothing seems to be happening, please be patient and give it a second.
[[> Ok, thanks——I'll keep that in mind. |Welcome-7]]
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<span role="img" aria-label="Simple drawings of paintings appear behind Amy. Dialogue appears in the dialogue box below her."></span><style>
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<div class="control-text">Here we are. Let's take a closer look at the flower on the wall.
[[> Alright.|nuture-intro-b]]
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<span role="img" aria-label="You reach the end of the green wall, where there is an arched doorway. To the left of the doorway, there is a flower. The stem of the flower is a dashed white line, and the petals of the flower are colored with teal and taupe stripes. On your right, there is a white wall covered in painted shapes and drawings."></span>
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<div class="control-text">[[> Read about the work|Seamus-text]]
[[> Learn about the artist |Seamus-bio]]
[[> Look deeper|Seamus-Deeper]]
We can stay here and dance as long as you like. When you’re ready, we’ll [[exit|Interlude-3]] the space through the door to the right of the dancefloor.
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<span role="img" aria-label="You are inside a room with an outline of a door on the right wall. The grid-patterned floor is a dancefloor, flashing different shades of purple, pink and blue. Four cylindrical stools are placed on the dancefloor close to you. The walls are covered with a video projection: a strange landscape of shapes, crystal growths and metallic objects. As the video plays, several versions of a human figure are revealed. Their faces have eye makeup and deep pink lipstick, and they wear a sleeveless dress with a plastic hairpiece. The colors of their outfits change throughout the video, changing from white to purple to hot orange."></span>
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<div class="control-text">Let’s go into the centre of the gallery space to view Anna Binta Diallo’s work. Ready, $name ?
[[> Yes, all set.|Anna]]
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<span role="img" aria-label="You stand in the center of the gallery. The grey floor surrounds you. In the distance, on the walls, just out of focus, are the works by rudi aker and respectfulchild that you visited earlier."></span>
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<div class="intro-control-text"> You'll be navigating primarily in portrait mode, but to get a better look at the background, turn your device into lanscape mode. Why not give it a try?
[[> Neat.|welcome-4]]
<p style="font-size:10px;">(HOST was optimized for desktop but can be played and enjoyed on a handheld device, too. Due to the number of mobile environments available out there, this experience may not be optimized for every single one of them.)</p>
</div>
</div>
</div>
<<fadein 5s>><div id="skip">[[Skip Intro |Introduction]]</div><</fadein>>
<span role="img" aria-label="Simple line drawings of picture frames appear behind Amy. New dialogue appears in the dialogue box below her."></span><style>
body {background-color: #000; }
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style><div id="intro" style="position:absolute!important; background-image: url(images/mag-to-win.png);
background-repeat: no-repeat;
background-size: cover;
background-position: center top;"></div>
<div class="intro-wall">
</div>
<div id="controlbox">
<div class="control-mini-right">
<div class="control-text-mini-right">
[[Move ahead|Winnie]]
</div>
</div>
</div>
<span role="img" aria-label="As you turn to right, the wall where Maggie Higgin's work is on display is now on your left. On the wall ahead, there is a drawing on paper hanging there. It depicts a human figure intertwined with flowers, leaves and other plant life."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-maggie" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
body {
background-image: url(images/rc-to-maggie.gif);
background-size: cover;
background-repeat: no repeat;
background-position: left top;
background-color: #94999f;
}
.floor {
background-color: #0f0f1b;}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
</style>
<div id="exhibition">
</div>
<</nobr>>
<div id="controlbox">
<div class="control-mini">
<div class="control-text-mini">
[[I'm ready|RC-1]]
</div>
</div>
</div>
<span role="img" aria-label="Ahead of you is a green, grassy hill painted on a light gray wall. On the grass, yellow, orange and pink stripes move. White and black lines animate, creating the shape of a flower."></span>
<<fadein 1s>><div class="locationpin"><a data-passage="fp-rc" class="link-internal link-image"><img src="images/locationpin.png" alt="Location pin"></a></div><</fadein>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpexit.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in the gallery entrance, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fplou.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Lou Sheppard's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fprudi.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in rudi akers's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fprc.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in respectfulchild's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpmaggie.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Maggie Higgins' section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpwinnie.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Winnie Truong's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpnuture.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in the area near the enterances to Emily Kennedy's and Séamus Gallagher's sections, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpemily.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Emily Kennedy's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpseamus.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Séamus Gallagher's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpcenter.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in the area near Caroline Monnet's and Anna Binta Diallo's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpcaroline.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Caroline Monnet's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpanna.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Anna Binta Diallo's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fprachel.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in Rachel M Thornton's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpkc.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in KC Wilcox's section, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fprr.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery appears. A bright pink marker appears in the Reading Room, showing where you, the viewer, are located."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><<nobr>>
<style>
body {
background-image: url(images/floorplan/fpbg.jpg);
background-size: cover;
background-repeat: no repeat;
background-position: center center;
background-color: #fdefd2;
color: #141516;
}
</style><div id="map" style="width: 100%;"><div class="introduction-text" style="font-size: 16px!important; margin-top: 50px;"><center><<back "< Close >">></center><div style="margin: auto; text-align: center;"><img src="images/floorplan/fpall.png" style="max-width: 100%; max-height: 100%; height: auto; width: auto;" alt="An overhead map of the gallery."></div>
<<fadein 2s>><div id="fade-away"><div class="textbox-tooltip-intro" style="background-image: none; top: 0; bottom: 0; right: 0; left:0; position: relative; text-align:center;"><p>Pinch to enlarge ↑</p></div></div><</fadein>>
</div></div>
<</nobr>><style>
body {
background-image: url(images/welcome-4.png);
background-repeat: no-repeat;
background-size: cover;
background-position: right top;
background-color: #ffdbc5;}
@import url('https://fonts.googleapis.com/css2?family=DotGothic16&display=swap');
}
</style>
<div id="intro">
<div class="intro-wall">
<div class="intro-object"> <img src=""> </div>
</div>
<div id="controlbox">
<div class="intro-control">
<div class="intro-control-text">Ok——I recommend navigating this experience in landcape mode, so you can get a better look at the background.
[[> Will do.|welcome-4]]
<p style="font-size:10px;">(HOST was optimized for desktop but can be played and enjoyed on a handheld device, too. Due to the number of mobile environments available out there, this experience may not be optimized for every single one of them.)</p>
</div>
</div>
</div>
<<fadein 5s>><div id="skip">[[Skip Intro |Introduction]]</div><</fadein>>
<span role="img" aria-label="Simple line drawings of picture frames appear behind Amy. New dialogue appears in the dialogue box below her."></span>