It is not surprising to find residues of our epoch – obsolete or abandoned things – as we harvest from the ground the materials we need in order to create. There, we also encounter the evidence of a loss, an erasure. Although remediating the situation seems difficult to envisage, it is possible, through art, to slow down and become aware of zones marked by this absence. By manipulating and observing the trajectories and temporalities embedded in the materials that immediately surround us – whether a bead, a sprig of a grass labelled as a weed, or a bit of Styrofoam pulled from the edge of a stream – it becomes conceivable to glimpse the close connections that link all earthly matter, and to become aware of our own entanglement with it.

Documentation of the project That which grows wild and profusely, Carrie Allison, presented by the Centre for Art Tapes, Halifax, 2020.

List of beading materials and tools, Carrie Allison, 2021.

Lettres à Alice, Présentées dans l’exposition Par-delà la forêt se trouve un jardin, Galerie de l’UQAM, 2021.
Écorçage de nerprun et cueillette de vergerettes du Canada en vue de la fabrication de teintures, 2021. Image de documentation.

Citation de Pattie O’Green. Manifeste céleste, aventures spirituelles en bottes à cap. Présentée à L’imprimerie, 2022

, exhibition catalogue, curated by Claire Dykhuis. MSVU Art Gallery, 2019.

UCC Harlo, United, Subtext Recordings label, 2019.

Experiments, creative residency at Centre Est-Nord-Est, Maude Arès, 2020–21. Photos: Maude Arès, Cynthia Girard-Renard.