Visiting Artist Lectures

The Department of Art Visiting Artist Lecture Series exposes our students and community-at-large to innovative and influential artists, curators, critics, and historians from around the world. The department invites speakers to lecture about their work and to engage with students in small groups or individual studio visits as part of the Visiting Artist Program.

Lectures are free and open to the public and begin at 6:00 p.m. on Thursdays in Lawrence Hall, room 177, unless otherwise noted.

You can find a video archive of recent lectures on the UO Channel.

Find conversations between Visiting Artists and MFA candidates at 5 Minutes.

Students can receive 1 credit for attending lectures as part of the course ART 407—no prerequisite is required.

The 2017–18 Department of Art Visiting Artist Lecture Series is made possible in part by the Davis Family Fund, the George and Matilda Fowler Endowment Fund, the Gordon W. Gilkey Endowed Fund, the Jordan Schnitzer Museum of Art, the Department of the History of Art and Architecture, the Department of Cinema Studies, and the Connective Conversations | Inside Oregon Art Program, a partnership between the Ford Family Foundation and the University of Oregon School of Art + Design.

2017–18 Visiting Artist Lecture Series

Fall 2017

William Powhida
October 12
Stanya Kahn
October 19
Nancy Shaver
October 26
Jan Verwoert
November 14

Winter 2018

Jenni Sorkin
January 18
Wendy Red Star
February 8

Spring 2018

Mike Andrews
April 12
Shana Moulton
To Be Rescheduled
Anna Sew Hoy
April 26

James Lavadour

“The Properties of Paint and Painting as a Ledger of Time”

October 5, 2017

Watch a video of James Lavadour's lecture

This lecture is made possible in part by the the Gordon W. Gilkey Endowed Fund and co-hosted by the Department of the History of Art and Architecture.

“Every morning I walk to the studio before the sun comes up. Five years ago, on that walk, a meteorite streaked overhead and lit everything like day. It was a terrifying and wonderful moment. Painting is that same experience. The bits and details of that flash of brilliant clarity would pass by if not for the practice of painting. A painting is a structure for the extraordinary and informative events of nature that are otherwise invisible.” – James Lavadour, 2013

Born in 1951, James Lavadour is one of the Northwest’s most revered living painters. Lavadour’s family are descendants of the Walla Walla tribe of the modern day Confederated Tribes of the Umatilla Indian Reservation. He has lived his life in Northeastern Oregon where he is an enrolled tribal member and has lived and worked on the reservation for the past 38 years. His sense of service and commitment to the tribal community have lead him to work for the tribal government in education, housing, alcohol and drug treatment, and natural resource management. In 1993 Lavadour and a group of supporters founded Crow’s Shadow Institute for the Arts, a not for profit print studio/arts organization that provides a creative conduit for social, economic, and educational opportunities to Native Americans through artistic development.

James Lavadour’s work was featured as one of only 102 artists selected for the Crystal Bridges Museum of American Art’s seminal survey exhibition, State of the Art: Discovering American Art Now and at the 55th Venice Biennale in Personal Structures.

His works are included in the collections of the Smithsonian National Museum of the American Indian, Washington DC; the Crystal Bridges Museum of American Art, Bentonville, AK; the Seattle Art Museum, Seattle, WA; the Portland Art Museum, Portland, OR; the Tacoma Art Museum, Tacoma, WA; the Boise Art Museum, Boise, ID; the Eiteljorg Museum, Indianapolis, IN; the Hallie Ford Museum, Salem, OR; the Hood Museum, Hanover, NH; Bank of America, San Francisco, CA; the Microsoft Corporation, Redmond, WA as well as numerous private collections.

Flare, 2016, oil on panel, 64" x 48”, courtesy of PDX Contemporary and the artist, James LavadourFlare, 2016, oil on panel, 64" x 48”, courtesy of PDX Contemporary and the artist.

James Lavadour. Photo courtesy of James Lavadour.James Lavadour. Photo courtesy of the artist.

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William Powhida

“After the Contemporary”

October 12, 2017

Watch a video of William Powhida's lecture

William Powhida will discuss his recent show “After the Contemporary” at the Aldrich Contemporary Museum of Art. The exhibition was the artist’s first museum solo show and offered a fictive survey of The Contemporary, a period of art history from 2000–2025 defined by the expansion of the art market. The exhibition also included a retrospective of the artist’s works from 2004–2047, made possibly by the 2050 setting of the exhibition. The lecture will cover works included in the show as well previous exhibitions and projects that informed “After the Contemporary”.

William Powhida makes fun of the art world to highlight the paradoxes and absurdities of economic and social value systems that keep the sphere of visual art afloat on a tide of inequality. His work relies on research and participation to diagram, list, perform and critique the forces that shape perceptions of value. He is responsible or partly responsible for exhibitions including "Overculture" at Postmasters Gallery, "Bill by Bill" at Charlie James Gallery, "POWHIDA" at Marlborough Gallery and "#class" at Winkleman Gallery.

Powhida is also an infrequent contributor to ArtFCity and Hyperallergic on issues that alarm him. His complicit criticism has been rewarded with gallery representation, numerous exhibitions and critical debate. He was born in 1976 in upstate New York and still lives and works in New York City despite the crushing cost of living and working. He is represented by Postmasters Gallery in New York, Charlie James Gallery in Los Angeles, Gallery Poulsen in Copenhagen, and Platform Gallery in Seattle.

The Contemporary in Context: 2000–2025, 2016–17, Transfer, graphite, latex on drywall panel, 48 x 96 x 3⁄4 inchesThe Contemporary in Context: 2000–2025, 2016–17, Transfer, graphite, latex on drywall panel, 48 x 96 x 3⁄4 inches.

William Powhida. Image courtesy of the artist.William Powhida. Photo courtesy of the artist.

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Stanya Kahn

George and Matilda Fowler Lecture

October 19, 2017

Stanya Kahn is an interdisciplinary artist working primarily in video with a practice that includes performance, writing, sound, drawing, painting and ceramics. Humor, pathos and the uncanny emerge as central modes in a hybrid media practice that seeks to re-work relationships between fiction and document, the real and the hyper-real, satire and sincerity, narrative time and the synchronic time of impulse.

Kahn is a 2012 Guggenheim Fellow in Film/Video. Recent exhibitions include Marlborough Contemporary, NY; Susanne Vielmetter, Los Angeles; Weiss Berlin; Cornerhouse, Manchester, UK; the New Museum, New York, NY; and the Brooklyn Academy of Music, New York. She has shown at the Hammer Museum, Los Angeles; the Museum of Contemporary Art, San Diego, CA; the2010 California Biennial; and Rodeo, London, UK recently. Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery, New York; the 2008 Whitney Biennial; the Sundance Film Festival; the Museum of Contemporary Art, Los Angeles; the Museum of Modenr Art, New York; ZKM Karlsrühe; among others. She was a contributing writer, performer and costumer on the feature film By Hook or By Crook. Her writings and drawings are in multiple publications including Die Laughing (2nd Cannons Publications), It's Cool, I'm Good (Cornerhouse Publications), Abstract Video (University of California Press), among others.

Stand in the Stream, person on beachStand in the Stream, 2011–2017.

Stanya Kahn, image courtesy of the artistStanya Kahn. Photo courtesy of the artist.

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Nancy Shaver

“50 Years: Learning to Be an Artist”

October 26, 2017

Watch a video of Nancy Shaver's lecture

“I am an artist, and collector of visual sensation. Observation, for me, is a critical tool for identifying spaces between mass culture and the individual. Daily errands, chores, and daily exchanges for carrying out getting from A to B are the vehicle for examination. For me, art takes place in these gaps. Specific gaps which define a present situation, personal or global which is always moving. Moving fast, out of grasp, constant flowing information, changing always. Art, for me, happens in conjunction with decoration, and is always fighting decoration. The activity of the agreement of art and decoration, or the battle of it are truly engaging for me.” - Nancy Shaver

Nancy Shaver is faculty at the Milton Avery School of Graduate Studies, Bard College. Shaver's work was presented in a solo show at Derek Eller Gallery in summer 2016. She has been part of the Greater New York show 2015 MoMA PS 1, Queens, NY as well as in Robert Gober's "The Heart Is Not a Metaphor" at MoMA, New York, NY. She currently has work in VIVA ARTE VIVA! the 57th Venice Biennale 2017. She has received a Guggenheim Foundation Fellowship, Louis Comfort Tiffany Award, and Anonymous Was A Woman award. She has been in collaboration with Maximilian Goldfarb and Allyson Strafella to present art in an experimental viewing station in Hudson, New York called Incident Report for the last 10 years.

Shaver lives and works in Jefferson and Hudson, New York.

Bishop Road-Hess Road. 2011, wooden blocks, flannel, dress fabric, paper, flashe acrylic, house paint, oil pastel, 14.25 x 14.25 x 3.25 inches. Photo by Phoebe d'Heurle.Bishop Road-Hess Road, 2011, wooden blocks, flannel, dress fabric, paper, flashe acrylic, house paint, oil pastel, 14.25 x 14.25 x 3.25 inches. Photo by Phoebe d'Heurle.

Nancy ShaverNancy Shaver. Photo courtesy of the artist.

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Jan Verwoert

“Live Through This: The Fate of Public Voices”

November 14, 2017

Watch a video of Jan Verwoert's lecture

Jan Verwoert will address the existential condition of critical writing. "The model of one person passing judgment on others has become ridiculous,” he says. "Art, life, politics—we're in it together after all, even and especially now that societies are forcefully split. What does it take for a voice to articulate intuitions and observations in a manner that allows for very different people to relate to a public thinking process? Urban satire can do it. Is this because laughing at the state of the world awakens a sense of grotesque, yet fateful connectedness?"

Jan Verwoert is a critic and writer on contemporary art and cultural theory, based in Berlin. His writing has appeared in different journals, anthologies and monographs. He teaches at the Piet Zwart Institute Rotterdam. He is a professor for theory at the Oslo National Academy of the Arts and guest professor at the UdK Graduate School, Berlin. He is the author of Bas Jan Ader: In Search of the Miraculous, MIT Press/Afterall Books 2006, the essay collection Tell Me What You Want What You Really Really Want, Sternberg Press/Piet Zwart Institute 2010, together with Michael Stevenson, Animal Spirits — Fables in the Parlance of Our Time, Christoph Keller Editions, JRP, Zurich 2013, a second collection of his essays Cookie! published by Sternberg Press/Piet Zwart Institute 2014 and editor of the anthology on artistic knowledge No New Kind of Duck — Would I know how to say what I do?, Diaphanes & UdK Graduate School, Zurich-Berlin 2016.

This lecture is made possible by the Connective Conversations, Curator and Critic Tours and Lectures, a partnership between The Ford Family Foundation and the University of Oregon School of Art and Design.

Ford Family Foundation logo

lecture poster with lecture title

Jan VerwoertJan Verwoert. Photo courtesy of the artist.

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Jenni Sorkin

"California Soul: The Vessel Tradition in the Work of Peter Voulkos and June Schwarcz”

January 18, 2018

Watch a video of Jenni Sorkin's lecture

Jenni Sorkin is Associate Professor of Contemporary Art History at University of California, Santa Barbara. She holds a PhD in the History of Art from Yale University.

Sorkin writes on the intersection between gender, material culture, and contemporary art. Her book, Live Form: Women, Ceramics and Community was published by University of Chicago Press in 2016. She has also published widely as an art critic, and her writing has appeared in Artforum, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, and Third Text. She has written numerous in-depth catalog essays on feminist art and material culture topics, and lectures nationally and internationally.

Special thanks to the Department of the History of Art and Architecture for their support.

Live Form book cover, courtesy the authorLive Form book cover, courtesy the author.

Jenni SorkinJenni Sorkin. Photo courtesy Leo Cabal Photography, Los Angeles.

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Wendy Red Star

“A Selection of Works”

February 8, 2018

Watch a video of Wendy Red Star's lecture

Artist Wendy Red Star will present a chronological look at major past works starting in 2006 to 2017. Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star’s work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that is at once inquisitive, witty and unsettling. Intergenerational collaborative work is integral to her practice, along with creating a forum for the expression of Native women’s voices in contemporary art.

Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art, Fondation Cartier pour l’ Art Contemporain, Domaine de Kerguéhennec, Portland Art Museum, Hood Art Museum, St. Louis Art Museum, and the Minneapolis Institute of Art, among others. She served a visiting lecturer at institutions including Yale University, the Figge Art Museum, the Banff Centre, National Gallery of Victoria in Melbourne, Dartmouth College, CalArts, Flagler College, Fairhaven College, and I.D.E.A. Space in Colorado Springs. In 2015, Red Star was awarded an Emerging Artist Grant from the Joan Mitchell Foundation. In 2016, she participated in Contemporary Native Photographers and the Edward Curtis Legacy at the Portland Art Museum, and recently mounted a solo exhibition as part of the museum’s APEX series. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She lives and works in Portland, OR.

This lecture is made possible in part by the Gordon W. Gilkey Endowed Fund, the Department of Art, the Department of the History of Art and Architecture, and the Jordan Schnitzer Museum of Art.

A photo from the series Documenting the Rez Cars and HUD Houses of Pryor, MontanaA photo from the series Documenting the Rez Cars and HUD Houses of Pryor, Montana (Crow Indian Reservation).

Wendy Red StarWendy Red Star

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Stanley Wolukau-Wanambwa

“Scenes from ‘One Wall a Web’”

February 22, 2018

Stanley Wolukau-Wanambwa will lecture about intersections between pictures and words. Wolukau-Wanambwa is a photographer, writer and teacher based in New York City. He is the former editor of the contemporary photography website The Great Leap Sideways (2011—2017), contributed essays to catalogues and monographs by Vanessa Winship, George Georgiou, and Paul Graham, was an artist-in-residence at Light Work, guest edited the Aperture Photobook Review, and wrote for Aperture, FOAM magazine and The Photographer’s Gallery.

Wolukau-Wanambwa has a BA in Philosophy & French from Oxford University, UK and an MFA in Photography from Virginia Commonwealth University. His photographic work addresses questions of patriarchy, race, history, and identity.

Untitled Archival Negative (2015), from All My Gone Life exhibition.Untitled Archival Negative (2015), from All My Gone Life exhibition.

Stanley Wolukau-WanambwaStanley Wolukau-Wanambwa

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Karthik Pandian

“Language as Sneeze”

March 8, 2018

Karthik Pandian will touch on the involuntary in art and how it has inflected his work from monument to animal choreography. Pandian makes works in moving image, sculpture and performance. He has held solo exhibitions at the Whitney Museum of American Art; Bétonsalon, Paris, Midway Contemporary Art, Minneapolis and White Flag Projects, St. Louis, amongst others.

His work was featured in the inaugural LA Biennial at the Hammer Museum and La Triennale: Intense Proximity at the Palais de Tokyo as well as in group exhibitions such as Adventures of the Black Square: Abstract Art and Society 1915-2015, at Whitechapel Gallery; Film as Sculpture at Wiels Contemporary Art Centre, Brussels; and the 4th Marrakech Biennial, Higher Atlas. He has recently been touring his first stage performance – a collaboration with choreographer Andros Zins-Browne – at theaters throughout the US and Europe.

Pandian holds an MFA from Art Center College of Design and a BA from Brown University. In 2011, he was the recipient of a Louis Comfort Tiffany Foundation Award. Pandian is currently Assistant Professor of Visual and Environmental Studies at Harvard University, Cambridge, MA.

Artwork by Karthik Pandian

Karthik PandianKarthik Pandian

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Mike Andrews

“Weird Wars and Other Battles”

April 12, 2018

Watch a video of the lecture by Mike Andrews

Mike Andrews is an Adjunct Professor in the Department of Fiber and Material Studies at the School of the Art Institute of Chicago and is the Executive and Creative Director at the Ox-Bow School of Art and Artists’ Residency. Andrews received a BFA from SAIC and MFA from Cranbrook Academy of Art.

Fueled by dynamic relationships between bright and dull colors, hard and soft materials and a range of scale, his sculptures and tapestries pointedly occupy the gallery. His work is informed by the grandeur of historical tapestries, non-representational abstract painting, and the delirium of home craft. His tapestries simultaneously function as both object and image.

Artwork from Coming Home exhibition at UICAArtwork from Coming Home exhibition at UICA in Grand Rapids, MI. Photo credit: Billy Buck.

Mike AndrewsMike Andrews

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Shana Moulton

“Welcome to Whispering Pines”

Due to unforeseen circumstances, this lecture has been canceled. We apologize for the inconvenience.

Over the past 15 years Shana Moulton has been developing her ongoing video/performance series Whispering Pines, in which she plays the role of "Cynthia", both a fictional figure and the artist's alter ego. This talk will present a chronological-anecdotal outline of Moulton's work and forces that shaped it, with video and performance highlights.

Shana Moulton lives and works near Yosemite, California. Moulton has had solo exhibitions or performances at The New Museum, SFMOMA, MoMA P.S.1, Performa 2009, The Kitchen, Electronic Arts Intermix, Art in General, The Andy Warhol Museum, The Migros Museum in Zurich, The Palais de Tokyo in Paris and the Times Museum in Guangzhou. Moulton's work has been reviewed in the Village Voice, Artforum, the Brooklyn Rail, the New York Times, Artnet Magazine, Frieze Magazine, Art Review, Artpress and Flash Art. She is a featured artist at Electronic Arts Intermix and Art21.

Shana MoultonParcours Night, Office approx 21 x 14 cm-ABB17, Shana Moulton, PR, 0018, Courtesy of Art Basel.

Shana MoultonShana Moulton

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Anna Sew Hoy

Davis Family Lecture

“Psychic Body Grotto and Sculpture Outdoors”

April 26, 2018

Anna Sew Hoy lives and works in Los Angeles. She has produced solo projects at the Aspen Art Museum in 2015 and the San Jose Museum of Art in 2011. She has exhibited at the Hammer Museum, LAXART, and Various Small Fires, Los Angeles; Koenig & Clinton, NY; and the 2008 California Biennial among others. Her work is in the collections of the Hammer Museum, SFMOMA, LACMA, and the Museum of Contemporary Art in San Diego. Sew Hoy was awarded a Creative Capital Grant for Visual Arts in 2015, the California Community Foundation Grant for Emerging Artists in 2013 and the United States Artists Broad Fellowship in 2006.

Sew Hoy received her MFA from Bard College in 2008.

This lecture is made possible by the Davis Family Fund.

Psychic Body Grotto, 2016, Photo by Jeff MclanePsychic Body Grotto, 2016, Credit: Photo by Jeff Mclane.

Anna Sew HoyAnna Sew Hoy. Photo by Hedi Slimane.

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Crystal Z Campbell

“Lost and Found: The Work of Art in the Age of Digital Regret”

May 10, 2018

Watch a video of Crystal Z Campbell's lecture

Crystal Z Campbell considers the internet as the site in which everything and nothing can be erased––prompting questions about what stories these digitally curated remains can reveal for progeny. Campbell's creative practice uses found footage or historical references, often gleaned from both tangible archives and internet sources. These narratives of yesteryear are often processed through film, light, sound, performance, installation, ceramics, painting, writing, and community projects to interrogate present notions of justice and the politics of witnessing. Most recently, Campbell has investigated Henrietta Lacks' immortal cell line, the 1921 Tulsa Race Massacre, and gentrification. Campbell uses art as a tool for transmitting historical memory, time-travel, and proposing social change.

Crystal Z Campbell is an interdisciplinary artist and writer of African-American, Filipino & Chinese descents. Campbell's work has been exhibited and screened internationally: ICA Philadelphia (US), Artericambi (IT), Artissima (IT), Studio Museum of Harlem (US), Futura Contemporary (CZ), Project Row Houses in Texas (US), Children's Museum of San Diego (US), Art Rotterdam (NL), de Appel Arts Centre (NL) and SculptureCenter (US) amongst others. Selected honors and awards include Pollock-Krasner MacDowell Colony Fellow, Skowhegan School of Painting and Sculpture, Rijksakademie van beeldende Kunsten, Whitney Museum's Independent Study Program Van Lier Fellowship, Sommerakademie Paul Klee, Amsterdam Fonds voor de Kunst, Mondriaan Fonds, Fondazione Ratti and a recent Smithsonian Fellowship. Campbell is a currently a second-year Tulsa Artist Fellow in Tulsa, Oklahoma.

Go-Rilla Means War, 2017, 35mm Film Transferred to Digital, Stereo Sound, Image courtesy of the ArtistGo-Rilla Means War, 2017, 35mm Film Transferred to Digital, Stereo Sound, Image courtesy of the Artist.

 Crystal Z Campbell. Photo credit: Jeremy Charles.Crystal Z Campbell

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Morehshin Allahyari

“On Digital Colonialism and Monstrosity”

May 17, 2018

Morehshin Allahyari is an artist, activist, educator, and occasional curator. She is the recipient of the leading global thinkers of 2016 award by Foreign Policy magazine. Allahyari was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives struggles in the 21st century.

Allahyari is currently an artist in residence at Eyebeam’s one-year Research Residency (2016–2017) in NYC where she is developing a new body of work on Digital Colonialism and ‘re-Figuring’ as a Feminism and de-colonialism practice, using 3D scanners and 3D printers as her tools of investigation. Researching dark goddesses, monstrous, and djinn female figures of Middle-Eastern origin, Allahyari devises a narrative through practices of magic and poetic-speculative storytelling, re-appropriation of traditional mythologies, collaging, meshing, scanning, and archiving.

Allahyari has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, Jeu de Paume, Contemporary Arts Museum of Houston, Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), and the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016). Her work has been featured in the New York Times, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.

The 3D Additivist Cookbook, 2016The 3D Additivist Cookbook, 2016.

Morehshin AllahyariMorehshin Allahyari. Photo courtesy of the artist.

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Sabrina Ratté

“Machine for Living”

May 24, 2018

Watch a video of Sabrina Ratté's lecture

“The lecture will focus on my most recent video work contextualized within the evolution of my process over the years. I will present an overview of different inspirations, discuss my approach with analog and digital video, reflect on the potential extension of video in the context of presentation, and I will talk about the different themes contained into my work such as architecture, utopia and dystopia, the real and the virtual.” - Sabrina

Sabrina Ratté is a video artist based in between Montreal and Paris. Her practice investigates virtual environments generated by analog technologies. Electricity, as raw material, is sculpted, transformed and altered digitally to be reborn as luminous and vibrating architectures. Her videos exist between abstraction and figuration, utopia and dystopia, architecture and landscape.

Her works include installations, prints, sculptures and live performances. Previous exhibitions: Dolby Gallery (San Francisco), Young Project Gallery (Los Angeles), Whitney Museum of Art (NYC), Paddles On! 1st Digital Art Auction at Phillips (New York), HEK (Basel), EMPAC (Troy), Museum of the Moving Image (New York), International Digital Arts Biennal - Bian (Montreal), PHI Center (Montreal), Arsenal (Mtl), the Lampo series (Chicago), Atonal Festival (Berlin), Elektra, MUTEK (Mtl, Mexico, Barcelona). She is represented by the Laffy Maffei Gallery in Paris.

Special thanks to the Department of Cinema Studies for their support.

Machine for Living 2017, 6-channel installationMachine for Living, 2017, 6-channel installation, Soundtrack by Roger Tellier Craig, Funded by Canada Council for the Art.

Sabrina RattéSabrina Ratté