After Paradise


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After Paradise presents a collection of used, souvenir biscuit tins as an ideal, perpetually blooming garden. What do we save? How do we recognize paradise?

Utopically pictured in most cultures as nature reordered, economic, instructional, and reassuringly, enclosed, paradise is also individually characterized by an illusive longing: What shall I keep?
What does it mean? Contemporary thinking cannot also escape questions of genetic engineering, sexual politics, colonialism, nationalism, and environmental responsibility. After Paradise considers this destabilized ideal in an interior space filled with secondhand containers hoping to keep anxiety away. Postcards and tour guides interpret paradise as a collection, a garden and a souvenir.

  Paradise (Contained)
Service Canada Window, Harbourfront Centre, Toronto, 2009

 After Paradise Installation

   Loop Gallery, Toronto.  November 8- December 2, 2007

Loop Store


 Domestic Science

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Domestic Science - Archival digital prints on Arches Aquarelle, 15" x 15", $250

Domestic Science continues my interest in the problem of naming through time. In these digital prints floral images from used biscuit tins are formally identified in printed Botanical Latin as well as by hand, with their common names. Both names identify specific placements in science and history. They are species and cultivars found or bred, recognized through popular reproduction, used domestically, re-collected and identified again. This attribution can only be a best guess made from multiple old reference manuals as Botanic names are updated over time with further genetic information, plants hybridize, are no longer propagated and lost. Images may mean something else: My story or your story may be privileged—found here, given by, used for . . . I forget. I like it.



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