Joshua Watson’s Leg (In Four Movements) | 50 second excerpt
Three-channel HD Video
(In Four-Part Symphonic Form)
Vimeo Link: https://vimeo.com/479330407
This Is for You, 2020
This Is for You (An Elegy for My Father), 2020 | 45 second excerpt
Three-channel HD Video with 5.1 Surround Sound
Featuring Julia McIntyre on Bass Trombone
Vimeo Link: https://vimeo.com/391747842
The Art of Fugue, 2019
Project Website: https://videoartfugue.com/
The Art of Fugue, 2019 | 5 minute excerpt
Five-channel Synced HD Video
Total Running Time: 16'16" (seamless loop)
by Emilie Crewe
Video Excerpts & Documentation
5.5 minutes duration; five artworks
Featuring Excerpts from the Following Artworks:
1.) Tributaries, 2017
(Nine-channel Video Collage)
Tributaries is an experimental video collage that documents narratives of the past and present of the City of New Westminster, and its central location along the banks of the Fraser River. The video acts as a scrapbook of sorts, with the intention of evoking a collective historical identity and a sense of place within the audience.
The title, Tributaries, references a river, but is more of a nod to the concept of paying tribute to a larger entity. Comprised of several short montages of people, places and histories, the video as a whole represents a larger story of the area. It takes shape and flows, in a sense, like a river.
Featuring: Stephen Sawchuk (local resident & fly fisherman), Harry Vick (born & raised in New Westminster), Pat Downey (local resident & daughter of Lacrosse Hall-of-Famer, Ed Downey), The New Westminster Salmonbellies Lacrosse team (with Julian Brambleby as the Queen's Park Arena organist), Captain Mark MacKenzie and the The Beta Star Crew, Chief Rhonda Larabee (of the Qayqayt First Nation), and Fin Donnelley (Canadian Politician who swam the 1,325 km length of the Fraser River in 1995 & 2000)
*Commissioned by The City of New Westminster, BC, Canada. In partnership with the New Westminster Museum & Archives, The Fraser River Discovery Centre & the Arts Council of New Westminster.
This project is funded in part by the Government of Canada | Ce projet est financé en partie par le gouvernement du Canada
(A Sense of Place), 2016
2.) (A Sense of Place), 2016
Combining micro and macro images of Vancouver as a "coastal city", this video montage contrasts grand, scenic imagery with realistic (yet slightly dystopic) scenes of industry and shoreline debris.
From afar, Vancouver is an idyllic international city. It is host to films that portray it in an obscure approach, erasing its identity as a city with unique character and a checkered history. Up-close, small details are familiar to those who live here, who walk the coastline and see the city everyday. Little moments, such as toes in the sand, rocks and shells trickling along the shore, a lost sock, a forgotten tennis ball, or a sunken boat add to the sense of place that the viewer experiences.
Exhibited on six video screens in the downtown core of Vancouver, B.C., this temporary public artwork sought to give passersby a glimpse of their city; to bring them out of their daily routine and offer a quiet ebb and flow of city-scapes and somatic close-ups of the beach.
* Commissioned as part of the series, Coastal City, for the 25th Anniversary of the City of Vancouver Public Art Program
This Room/Patterns, 2017
3.) This Room/Patterns, 2017
Single-channel HD Video
(Nine-channel Video Collage)
Performed by Anne Hansen
An older woman feeds on what surrounds her . . . She makes things. She counts seconds as she presses flowers, cataloguing the petals in the dictionary. Keeping time, everyday iteratives are woven with fragments of the past. All the while, the outside world eludes as she is anchored to the 9th floor...
This Room/Patterns is based on the concept of a barnacle: an encrusted species, permanently attached. Depicted in the video is a hermetic, elderly woman reflecting on memories, antiquities and the space around her. Nine windows of moving images are arranged simultaneously to create a video collage.
My grandmother plays the role of the older woman. These are her artifacts, her histories and little moments. Some moments are staged; others are not. She can be heard playing the piano: gentle, elegant and not perfect.
* This Room/Patterns was screened as a public artwork in 2017 for 'Art on the Screens' at Celebration Square in Mississauga, ON, Canada, exhibited at Roman Susan Gallery in Chicago, IL, USA in 2017, exhibited as a looping installation for aDifferent Festival at aCinema in Milwaukee, WI, USA in 2018, and exhibited at Two Rivers Gallery in Prince George, BC, Canada from January to April of 2018.
SELF HELP, 2017
4.) SELF HELP, 2017
Can be exhibited with or without sound
SELF HELP features close-up images of an assortment of books being "thumbed through". As the video progresses, the object of the book takes on a sculptural and landscape-like characteristic. As pages flip by, fragments of text are highlighted, offering the viewer a spontaneous poetic narrative. The audience may piece together snippets of words, creating a different viewing experience with each screening.
The title references the books that are in the video: a mixture of classic literature, non-fiction wilderness/travel, and self help books. Additionally, as each viewer pieces together little bits of text, a personalized element of the 'self' comes into play.
* Exhibited as a looping video installation at the University of Mary Washington Media Wall in Fredericksburg, Virginia, USA in March of 2018
Making Circles: The Chilkat Dancing Blanket, 2014
5.) Making Circles: The Chilkat Dancing Blanket, 2014
"In partnership with Reconciliation Canada, the City is supporting a Year of Reconciliation by acknowledging the negative cultural impacts and stereotypes that resulted from Canada’s residential school system, to witness the process of reconciliation and healing, and advance with a greater shared understanding of the historical impacts that have shaped the experiences of Aboriginal people to date."
- City of Vancouver
Making Circles: The Chilkat Dancing Blanket features an original Anislaga Chilkat Blanket, and the hands of Donna Cranmer (Kwakwaka’wakw), Master Weaver and Anislaga descendent. This particular style of weaving is passed on through generations and is the only known example of perfect circles being created in this format.
Produced in Alert Bay, British Columbia at the U’mista Cultural Society, the video documents the repatriation of a 100-year-old Chilkat Blanket to the Kwakwaka’wakw Nation.