01 Abandon, photo-documentation of live-performance, 2013
For this durational performance, I submerged myself in the dirty water that had flooded the basement of an abandoned warehouse. For three hours I walked back and forth between the basement and the main floor where he scrapped off the water that had accumulated on my body. This water was dripped onto clothing spread around a vessel of clean water. Occasionally I would take a drink from. The action concluded with me washing myself with this water.

02 Island: Havana Version, photo-documentation of live-performance, 2016
This performance pays respect to the land, soil, and the ground we walk on. Island is a work that uses soil, stones found in the street of Havana, as well as a native plant and water to engage myself with our living earth. The tree planted is thriving in the park and being taken care of by people in this neighbourhood.
Different versions, all done in 2014, have been done on the Toronto Islands, for Luminous Bodies; M:ST Festival, Calgary; Yuz Museum, Shanghai and Meta Festival, Chongqing, China.

03 Staying On Top, photo-documentation of a live-performance, 2018
Staying On Top consists of three sequences linked together into one durational work: 1) moving large bundles of used clothing down the main hall at the Montreal Convention Centre; 2) stacking the bundles as high as possible and then standing on top of the resulting mound; and 3)  wrapping a globe with layers of clothing and holding it on my shoulders until I had no more strength to continue. The value of physical labour, perseverance, as well as play, will all be inferred. For this performance I was dressed as a stereo typical businessman.

04 Excess, photo-documentation of a live-performance, 2018
Excess was a durational, performance that addresses our complex relationship to consumer capitalism, the culture of materialism, and labour. Over the course of nine days I interacted with a stockpile of clothing, while responding to notions of excess, waste, and fast fashion. In this performance I worked with spontaneity and chance to emphasize self-imposed limits and restrictions as a means to confront the audience with their own implicit beliefs.

05 Working With Wood, photo-documentation of a live-performance, 2019
In this new work, I aim to call attention to the construction and representation of the natural environment, in an attempt to question what is natural and how our perceptions of the natural world are culturally formed. In Working With Wood, I want to look at processed nature and how acculturation has affected the way trees are managed and regarded. This work affirms a respect for life beyond our physical bodies and opens up questions about the ideals and values we hold and perpetuate.

06 Encumbrance, live art performance Tess Martens, Holly Timpener and Enok Ripley for SummerWorks, 2019
This interaction with clothes combined several actions I have done over the past 5 years. It is contemplation on the relationship between one’s body and clothing, in particular, some of the forces that surround the production, circulation, consumption, and ownership of garments. Encumbrance also considers the ways our bodies are identified with clothing and how this interconnectedness helps construct our identities, shapes desires and tastes.
This performance won the Now Magazines Peoples Choice Award.

07 Action in a McIntosh, still from 15 minute video, 2019
This work is an expansion of the conceptual territory that has been a focus of my practice for over the ten years; considering trees as a ‘body’, alive, nuanced, and socially contextualized. Through my intimate interactions with this heavy pruned tree, I wanted to acknowledge that like other bodies, trees are sentient beings entitled to respect and admiration.

08 Deflating the World, stills from a video/performance, 2019
09 Drunken Dream, image printed on a polyvinyl curtain, 2.7 X 4.1 M, 2019
This video and curtain will be used as an element in a 20 minute solo performance called Flood. The performance, to be present later next year, will scrutinize the careless attitude some segments of society have towards our environment.

10 Action with Downed Trees, Toronto Islands, stills from a video/performance, 2019
This performance is a meditation on a variety of relationships including time and space. Using an approach that is poetic and self-reflexive, my point of departure for the performance will be the video shot over the course of a 5 hour action with, on and around trees that had fallen due to the erosion caused by the storms of the previous winter and spring floods. This piece explores the ways my body engages with physical environments and how this interaction reverberates into the psycho-social spaces inhabited

11 Good ’Til It’s Gone Source, 2 minute clip from a 30 minutes action done on a black sand beach near Vik, Iceland, 2019. This action was the inspiration for the performance I am proposing for the 2019 Rhubarb Festival and will subsequently presented in March at the BIENAL INTERNACIONAL DE ASUNCIÓN in Paraguay .


Abandon