See also Video Performance in the Performance section.

See a selection of video and film excerpts on my vimeo page.

Ghost Stories (The Connection) (2015)

Geopoetic meanderings, one-on-one encounters and performative collaborations between myself and a small group of young artists in the town of Real Del Monte, Mexico, continued my recent explorations into the many and varied ways of embodying transitional, liminal, “in-between” spaces (physical, emotional, and psychological). With a history of practice firmly rooted in performance, the connection between time, space and the body not only became more apparent but considerably transformed. I realized how my perception of the “in-between,” of liminal space, and identification of a “non-place” is highly biased by my North-American perspective; the “in-between,” the liminal, the “non-place,” and the invisible do not exist in the way I am accustomed to, being significantly more porous and fluid in Mexico. The possibility for my consciousness to acclimatize and the opportunity to be able to make meaningful connections within this community resulted in unexpected encounters. Wishing to not name it specifically but instead to invoke via the residue of documentation my intention is to demonstrate this slippery, difficult to ascertain space – this space between space, where what we see in front of our eyes might not tell the entire story, and where what we feel (beyond our five senses) might contain valuable information that our body imperceptibly receives.

my body of water (2013)

As the ideal and the real co-exist, often in a constant negotiation of perception, this work contemplates the space between desire and detachment. What’s between me and you? Between my body of water and yours? The camera accompanies me on a familiar trajectory on bike and foot along the Saint-Lawrence River. Desire lines are carved out into the path that lead down to the water, but inevitably, the water is always just out of reach.

my body of water still

arrest (2012)

How empty spaces are filled, with what objects, memories and emotions that get left behind. Left and layered, the way memory fixes key images and re-plays sequence upon sequence to the point of blurred abstraction. This space is a constant companion, filled with what objects, emotions and recollections that are needed in order to keep the present firmly connected to a past. Super8 film to digital transfer, created in collaboration with sound composer extraordinaire Christian Richer.

arrest still
Watch arrest (2:42)

and here (2011)

Across landscapes and mental states, stretching from country, to city, to home, and here. I am always in several places at once, leaving and arriving. I am never always totally here. But I seem to be almost here (and here, and here). And here.

and here
Watch and here (3:01)

Sunburst (2009)

Sunburst is the space between thoughts when consciousness slides easily into a liminal horizon. Washes of layers remember to breathe and remind the breath to let go, to follow the flow, then let go again. Paradoxical as it is to write about a practice that proposes a continuous letting go (whereby even writing itself tries to fix an idea in time/space), Sunburst is an initial attempt to “capture” and reproduce – through images, and subtle sounds – the textures and features that compose a meditative breathing pattern.

sunburst still

When Parts of You Are Still Away (2009)

This video was produced for a performance shown at the Edgy Women Festival, as part of their annual “Edgy Challenge.” Being given one object, a sound, and set of directives, each participant created a piece in the space of three weeks. With such a strong resemblance to the methodology I have been using for the Roadside Attractions performances, I decided to work with similar themes, this time putting the emphasis on a disjointed sense of presence and the “self” — while being “at home.”
When Parts of You Are Still Away 1
Watch When Parts of You Are Still Away (5:32)

Subtle Structures (2008)

Subtle Structures combines performative, relational exchanges and performance before the camera to produce this documentary influenced video. Having compiled ten audio interviews with Concordia video students and dept. staff on the subject of family, the resulting aural montage accompanies this visual landscape: a repeated struggle to build a house of cards. Attempting to depict the challenges of sustaining a “subtle structure” through the overlapping of myriad stories and the patient struggle to build, the video creates a palpable, almost savoury tension, while proposing a state of refined patience and (self) compassion in the listening and in the doing — one that simultaneously fills the viewer with anticipation, curiosity, trepidation, and hope.

subtle structures still

Oilers (2007)

Using Vince Tinguely’s text Oilers as a point of departure, this 8 minute videopoem combines a series of small, intimate, awkward interactions (between Stanton and a toy Hummer) along with an incisive, lively, politically charged poetic piece about our addiction to oil, written and recorded by Tinguely.
oilers still

I Am Not Afraid of Big Words (2007)

And what about our relationship to language? A disjointed treatise based on a long-standing phobia. Using inter-textual narrative, and mostly static sequences this short “poetic” text tests memory and seeks an hypothesis in order to make sense of an “irrational fear.”
not afraid of big words still

Moving Fruit (2007)

And what about recurring obsessions? A runaway still life doesn’t get too far on the moving sidewalk of life.
moving fruit still
Watch Moving Fruit (1:11)

Home Bathroom Hotel (2007)

And what about inadvertent product placement? A chance to relax at home in the dog bowl wash basin.
home bathroom hotel still
Watch Home Bathroom Hotel (1:18)

SPLIT: the second half (2000, parts 1, 2 and 3)

And what about the daily contradictions? SPLIT: the second half is a trilogy of short performance videos based on texts that were initially written for the one-woman stage show, SPLIT.

Part 1: Golden List
Golden List questions the politics of jobs, ‘work’ and the notion of constant production by situating perpetual motion at the forefront, while the voice-over pontificates on the role that artistic practice plays within the rubrics of ‘work’.

Part 2: Je Mens
Je Mens explores the nature of storytelling, the inherent fictionalization in the telling of the story and the story as a means to bind or bury oneself in one’s self-perceived idea of the ‘truth’.

From SPLIT: The Second Half, (Part 3, Salt in the Wound)

From SPLIT: The Second Half, (Part 3, Salt in the Wound)

Part 3: Salt in the Wound
Disclosure, flow and transformation are the major pre-occupations of Salt in the Wound. The main figure, seen to slowly unravel her exterior self, sets herself adrift, moving alone in an unknown direction (away from her past?), then leading others along with her, to join her on her uncharted journey.

Watch an excerpt from SPLIT: the second half at Saatchi Online (8:45)