FOUNDATIONS / digits 

2012–2013

Parent Folder is a multi-part project centred on the collection of property surveillance images. Developed over a 12-month period, the work includes a stop-motion digital video [00:11:59], a daily surveillance log compiled as a self-published book, jacquard weavings derived from captured images, and a digitally printed silk body pillow used by the artist during a year-long performed act of sleeping.

The project draws on psychogeography, the study of how environments shape emotion and behaviour, extending this framework into digital space. Using remote access to a domestic surveillance camera, the artist observed and recorded fragments of her father’s daily life, downloading footage from an archive titled Parent Folder. This material becomes the basis for a series of translations across media, transforming acts of watching into objects, images, and embodied gestures. The project engages the computational logic of “parent” and “child” directories as both structural and relational metaphor.

2010-2011

These selected works engage online platforms and networked media as sites of encounter, intimacy, and translation, spanning video, digital print, and performance. Drawing from platforms such as YouTube and Skype, they explore how relationships are mediated, fragmented, and reconstituted through digital systems.

Through acts of capture, compilation, and redistribution, these works examine the circulation of bodies and identities across networked space. Found footage, screen capture, and live exchange are treated as raw material, reworked into new forms that oscillate between documentation, performance, and artifact. Installed across gallery and public space, and in some cases activated through performance, these works address the unstable boundaries between private and public, presence and representation, connection and control.

Projects in this section include You Were Big in Chicago (2010), Squirrely (2011), Hockey Fight in Canada (2011), and fantasmagorie (2011).

2003-2013

These works explore weaving as a computational practice, spanning hand loom experimentation, jacquard processes, and digitally informed pattern construction. Positioned at the intersection of textile traditions such as damask and digital logic, they investigate how structure, pattern, and image emerge through programmed sequences of interlacing threads. Here, the loom operates as what it is: a proto-computational device, and weaving as a method of data inscription.

These works establish an early engagement with computational thinking through textile practice, extending logics of repetition, patterning, and code into material form.