THESE THINGS ARE DONE
ESCHATOLOGICAL PAIN (& SUFFERING) IN SEVEN UNEQUAL PARTS - AN INCOMPLETE RECORD OF THE END OF THE WORLD - A JOURNEY THROUGH ‘THE UNHOLY VALLEY’
(A HIGHLY SCRIPTED EXTEMPORARY ORATION)
photo documentation by Annie France Noël
the van out in the woods
we used to tell a story about a van out in the woods…
Art in the Open, Charlottetown, Prince Edward Island, 2019
something about death or dying (unfathomable)
“I was going to tell you a story, but it’s not my place. I think I changed my mind. I’ve become far too self-conscious.
There are just some things that are not worth repeating.
There is a history that is particular to this place. So sometimes, I think it might be best if I just kept my mouth shut.
There are stories to be told that are not mine to tell. I used to tell a lot of stories…”
Saltbox Contemporary Arts Festival, Corner Brook, NL, 2018
shadow the vanishing point, out on the marsh, in all directions
An eclectic site-specific installation and durational performance, located just beyond the edge of communal public space; upon a windswept marsh. From a temporary public monument/station/platform (constructed from reclaimed materials), a series of actions, sounds, and images, are ‘transmitted’ to the greater public. The project utilized sound, performance, storytelling, and drawing. Partakers are obliged to view the work from a distance, and through additional means (listening devices, binoculars, etc.), further provoking ideas of public (dis)engagement.
ABOUT TEENAGE SATANISTS, SPILLING BLOOD UNTIL IT RUNS BLACK...
A performative slide-lecture exploring regional supernatural hearsay. Delving into local ghost stories, late 80’s heavy metal youth culture, and occult-rituals, this meandering rant explores the fear and paranoia that easily overtakes a small town where everyone knows everyone else.
I USED TO BE A PERFORMANCE ARTIST, BUT THEN JOHN RITTER DIED...
An informal ‘lecture-based’ performance (visual and oral) investigation into a childhood preoccupation with American sitcom star John Ritter; the pressures that come from growing up in a rural community where storytelling is valued above all else; and what it might mean to become an artist, however unintentional. Generally received as a ‘comedic work’, it seeks to challenge the relationship and interconnections between personal history, pop culture, and contemporary art; drawing links between a childhood fascination with television sitcoms, religious ideals, and performance art.
