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Category: GRANTS

Carceral Cultures Conference 2018

Approaching biometrics as inevitable and prevalent, my interest is in how biometric technologies become mobilized within creative representations, outside of scientific inquiry. My aim is therefore to draw connections between the increasing deployment of surveillance and biometric technologies, and their manifestation within contemporary art practices. Evolving from an art-as-research methodology, and privileging artworks as examples, this presentation looks to artworks that engage with traditional portraiture and representations of the face, all the while manipulating expectations…

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The Colour of Something

A phenomenological approach to art analysis. This 1-hour workshop presents participants the opportunity to develop critical, analytic tools for discussing a work of art. Critiques are central to the emerging creative practitioner’s development, as both recipient and participant in the process. As a constructive, generative stage in the art-making process, art criticism teaches visual literacy, activates both mind and body, and develops an awareness of the critical context in which we as artists work. Typically…

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The Body Eclectic

Exploring the Diversity of Bodily Being The Body Eclectic colloquium includes interdisciplinary panel discussions among experts who explore the intersection between important social and environmental topics such as: aging, care, and differen­­tly-abled bodies; the creation of inclusive, accessible spaces; socially responsible communities and environmentally responsible death; the permeability of the body through technological advances and genetic manipulation as well as ‘othering’ certain bodies through technological mainstays; and, finally, celebration of  being a body in all of…

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About Face

exploring the multiple potentialities of Cerniello’s “Danielle” This paper investigates American film-maker Anthony Cerniello’s animation “Danielle” (2013). Created from a series of photographs of an extended family, “Danielle” oscillates between a fictitious and real subject. As means to explore the multiple facial layers within the work, this paper examines the many potentialities within Deleuzian analyses of the face: the faciality generated by the narrative in each aging face; the deterritorialization of the importance of a…

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Mask/Face

Facial Recognition and the Performance of Identity To uncover the paradox of the face in its various dualisms, this paper takes up Gillian Wearing’s Self Portrait at Twenty Seven Years Old (2012), as a contemporary work that engages a discourse of surveillance and visibility. Tracing the history of facial identification and modes of classification, this essay draws on a genealogical methodology to locate contemporary instances of biometrics. As a self-portrait, my object of study grounds…

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The Public/Private Face

The Glut of Faciality in Surveillance Culture Starting with Michael Warner’s historical analysis of public and private, this essay questions the position of the face when taken up as a set of information, biometric algorithms and codified analysis. Historically, public and private have been understood as spatially distinct zones, and what is considered public or private is embedded in instinctual behaviour and modes of speech. Advancements in biometric technologies and applications have led to the…

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Face-less Identification

Tradition and recognition in the work of Ursula Johnson “L’nuwelti’k (We Are Indian)”, is a series of on-going performative works by Mi’kmaw artist Ursula Johnson, weaving face-concealing baskets over a participant’s head. “L’nuwelti’k” engages discourses of identity, transformation and visibility. Through the use of status-specific titles, Johnson critically comments on the government-imposed categorization of indigenous status and identity through the Indian Act (1985). Tracing the history of identification and modes of classification, this paper investigates…

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The Glut of Faciality

The focus of my research engages with embodiment, biometrics and the corporeal form. For the duration of this Master’s program, it is my intention to develop a critical writing and prototyping practice to investigate and disseminate the ways in which our bodies’ become commoditized, their function, profile or appearance negotiated through the various uses and implications of technological translation. Through explorations of biological identity, transformation and growth, I take up the digitized, technologized concept of…

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Body Flux

PechaKucha Night Volume 3, September 28, 2013 at the Richmond Cultural Centre Volume 3 was in relation to the Fictive Realities exhibition at the Richmond Art Gallery (RAG). The group exhibition examines technologies as interactive digital projection, artware, video mediated sculptural installation, as well as good old fashioned storytelling. Participating Presenters: Rachel Lafo, Carrie Walker, Wynne Palmer, Little Woo, Sean Arden + Erin Siddall, Jovanni Sy, Miles Thorogood, Vivian Chan, Kristina Fiedrich, and Durwin Talon [su_youtube url=”https://www.youtube.com/watch?v=CuUhr-9nERg&feature=youtu.be”]

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Under and Beyond (the Skin)

  For this presentation of my thesis project, Under and Beyond the Skin: Artistic process, trauma and embodiment in image-making, I will be introducing and expanding on the most recent developments within my practice, which includes Beyond the Skin, a project explored in its early inception within the thesis essay. To briefly outline my intentions, I will first discuss the prosthesis and the ways in which I take up what I refer to as a…

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