I can't find my watch, yet it hasn't flown away
salad spinners, selected objects, inkjet photographs, lights, timer switches, motion sensors
6 objects: 90 x 36 x 36 cm (overall)
total length: 536 cm
documentation: – photo & video©Diane Landry
- The Cadence of All Things, Cameron Art Museum, Wilmington (North Carolina, USA).
- The Defibrillators, curator: Eve-Lyne Beaudry, Art Gallery of Hamilton, Hamilton (Ontario, Canada).
- Festival City Sonic, curator: Franck Philippe, Salle Saint-Georges, Mons (Belgium).
- Réservoir électrique, Séquence, Saguenay (Quebec, Canada).
- The Defibrillators, curator: Eve-Lyne Beaudry, Mount Saint Vincent University Art Gallery, Halifax (Nova Scotia, Canada).
- The Defibrillators, curator: Eve-Lyne Beaudry
- Agnes Etherington Art Centre, Kingston (Ontario, Canada)
- Esplanade Art Gallery, Medicine Hat (Alberta, Canada)
- Robert McLaughlin Gallery, Oshawa (Ontario, Canada).
- Les défibrillateurs, curator: Eve-Lyne Beaudry, Musée d’art de Joliette, Joliette (Quebec, Canada).
- First Look II, Hudson Valley Center for Contemporary Art, Peekskill (New York, USA).
- Diane Landry (Canada), curator: Philippe Pasquier, Bus 117, Melbourne (Australia).
- MFA Thesis Exhibition, curator : Gail Wight, Thomas Welton Stanford Art Gallery, Stanford (California, USA).
- Je ne trouve pas ma montre, elle ne s’est pourtant pas envolée, centre VU, Quebec City (Quebec, Canada).
This project has a series of salad spinners lined up against a wall and presented on transparent shelving. They look identical, are white, and have the quality of an anonymous plastic object that is mass-produced for utilitarian consumption. Each salad spinner has its own lighting and the space is lit only by these curious containers. On moving closer to them, we notice that each salad spinner has its own moving parts and its own electronic clockwork mechanism. A time switch controls an electric motor that automatically activates the object. The salad spinners move circularly at an intermittent tempo and the delicate sound they produce is inherent to the make-up of the appliances. As we get ever closer to the work, we discover a small window made directly in each of the plastic containers. Through this opening, we see a short film loop composed of a series of photos that create a movie animation. Each salad spinner has its own “film,” its own history, and all of the film loops may be read as a dynamic narrative. To create this cinematographic effect, I used a nineteenth-century process for animating images, called “zoetrope.”