Series of 9 woven works interpreting macro images of 19th century geologic diagrams painted by Orra White Hitchcock.
Read exhibition essay by Stanzie Tooth.
Installation views:
“Throughline” exhibition,
United Contemporary, Toronto, Canada, 2024
Photo credit:
Installation views, Alison Postma
Details, Meghan Price
Series of 5 woven works, each containing the silhouette of an ancient textile embedded in a ground of waste plastic.
37” x 27” to 48” x 27”
Woven cotton & waste plastic
TD Bank Collection
Installation view:
“Best Estimate” exhibition,
United Contemporary, Toronto, Canada, 2022.
Photo credit:
Installation view, Colleen McCarten
All others, Jason Perreault
A woven translation of an image first published in James Hutton’s Theory of the Earth in 1795. This textile iteration embeds waste plastic into the woven structure and by extension, into the geologic landscape it depicts.
Woven iterations of 3 details from a 19th century geologic diagram drawn by scientific illustrator, Orra White Hitchcock. Through woven structure and material, these works emphasize the qualities of Hitchcock’s medium (ink on linen) and her subject (coal).
Series of 3
31.75” x 28.5”
Woven cotton & video tape
Source image:
Orra Hitchcock, Coal Strata. Eng., ca. 1828–1840
Edward and Orra White Hitchcock Family Papers, Archives and Special Collections, Amherst College
Installation view:
“Best Estimate” exhibition,
United Contemporary, Toronto, Canada, 2022.
Photo credits:
Installation view, Meghan Price
All others, Jason Perreault
is a series of paper forms made through improvised pattern drafting and stitching. Subtle geological textures are recorded on the paper with graphite rubbings.
The grid is commonly employed as a stable matrix and fixed standard but when its axes are drawn in thread, a malleable woven grid is made. In the series titled “Sham”, woven cloth is stretched flat to optically expresses its pliable nature. Here, plane and fold appear one and the same.
Series of 8
22’ x 22” and 37.5” x 37.5”
Woven rayon, cotton & nylon
Installation view:
“Grid” exhibition curated by Melanie Egan,
Harbourfront Centre, Toronto, Canada, 2022.
Photo credits:
Brian Medina (installation view)
Huy Lam (all others)
Woven wool, cotton & waste plastic.
Series of low relief sculptures made with used athletic shoes. Geologic pattern depicted in waste plastic links human and geologic time, consumer culture and the ecology.
Photo reproduction installed at AKA/PAVED Billboard Space
Saskatoon, Canada
Co-presented by AKA, Hamilton Artists Inc., and PAVED Arts
July – August 2019
A streaming video series that uses the internet and digital video to deliver the image of a boulder for the duration of one day or longer.
View past episodes HERE.
Watching Rocks: Banff was streamed live on November 29, 2016 for Running With Concepts: The Geologic Edition at University of Toronto.
Aislinn Thomas' Rock disguises (for rocks and humans) is pictured in the foreground.
Watching Rocks: Brandon was screened live at the Art Gallery of Southwestern Manitoba on June 17, 2016 within the exhibition Part Time Deep Time curated by Natalia Lebedinskaia.
Watching Rocks: Hamilton was screened live at AKA, Saskatoon from September 15 to October 21, 2017 within the exhibition Here and now and then curated by Tarin Dehod. This episode features Matthew Walker's work Extinction Event. Photo credit: Derek Sandbeck
Three screenprints pairing precise cut/fold patterns for models of rocks with quotes* on the value of wonder, ambiguity and embodied knowledge.
*Jones, Rachel E. “On The Value Of Not Knowing: Wonder, Beginning Again and Letting Be.” On Not Knowing: How Artists Think, edited by Rebecca Fortnum and Elizabeth Fisher, Black Dog, 2013.
A series of low relief sculptures inspired by the geologic phenomenon of the glacial erratic.
The pattern used in geological mapping to represent metamorphic rock is here stitched into paper. A wooden scaffold supports the form.
