Creative and Critical Studies, Faculty of (Okanagan)
DSpace
UBCO
Verge, Victoria
Master of Fine Arts - MFA
University of British Columbia
This body of work and supporting essay explore the interplay between movement and stasis within the concept of home, a theme drawn from my childhood experiences of frequent relocations due to my father's military career. In my installation, Chasing the Echoes of Home, I display a series of small-scale sculptures of houses, constructed from reclaimed wood and found objects. The sculptures possess the kinetic potential to collapse and rebuild themselves with the turn of a crank. However, when exhibited in the gallery, the houses remain dormant (not to be touched by the audience) and instead come to life through motion-triggered audio recordings that play the individual sounds of each house’s movement. This investigation contributes to discussions on the physical and psychological impacts of mobility and displacement, increasingly pertinent in contemporary art and migration studies. By integrating traditional sculptural forms with interactive audio elements, my work navigates the boundaries of material and experiential art practices. My choice to incorporate found materials speaks to themes of resourcefulness and adaptability, essential traits of my Newfoundland heritage and relevant to broader discussions on sustainability and community resilience. My research aims to contribute to the fields of visual arts and cultural studies by offering an artistic exploration of home and identity in an increasingly globalized world. It examines how personal history and cultural background influence experiences of geographic and emotional displacement fostering a deeper understanding of the stability-home spectrum while challenging audiences to reconsider conventional notions of belonging and community.
Chasing the Echoes of Home by Victoria Verge B.F.A., Memorial University, Grenfell Campus, 2016 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in THE COLLEGE OF GRADUATE STUDIES (Visual Arts) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) November 2024 © Victoria Verge, 2024 ii The following individuals certify that they have read, and recommend to the College of Graduate Studies for acceptance, a thesis entitled: Chasing the Echoes of Home submitted by Victoria Verge in partial fulfillment of the requirements of the degree of Master of Fine Arts. Briar Craig, Faculty of Creative and Critical Studies Supervisor Renay Egami, Faculty of Creative and Critical Studies Supervisory Committee Member Samuel Roy-Bois, Faculty of Creative and Critical Studies Supervisory Committee Member Melissa Jacques, Faculty of Arts and Social Sciences University Examiner Additional Committee Members include: Sue Frohlick, Faculty of Arts and Social Sciences Supervisory Committee Member iii Abstract This body of work and supporting essay explore the interplay between movement and stasis within the concept of home, a theme drawn from my childhood experiences of frequent relocations due to my father's military career. In my installation, Chasing the Echoes of Home, I display a series of small-scale sculptures of houses, constructed from reclaimed wood and found objects. The sculptures possess the kinetic potential to collapse and rebuild themselves with the turn of a crank. However, when exhibited in the gallery, the houses remain dormant (not to be touched by the audience) and instead come to life through motion-triggered audio recordings that play the individual sounds of each house’s movement. This investigation contributes to discussions on the physical and psychological impacts of mobility and displacement, increasingly pertinent in contemporary art and migration studies. By integrating traditional sculptural forms with interactive audio elements, my work navigates the boundaries of material and experiential art practices. My choice to incorporate found materials speaks to themes of resourcefulness and adaptability, essential traits of my Newfoundland heritage and relevant to broader discussions on sustainability and community resilience. My research aims to contribute to the fields of visual arts and cultural studies by offering an artistic exploration of home and identity in an increasingly globalized world. It examines how personal history and cultural background influence experiences of geographic and emotional displacement fostering a deeper understanding of the stability-home spectrum while challenging audiences to reconsider conventional notions of belonging and community. iv Lay Summary This paper supports Chasing the Echoes of Home, a collection of kinetic sculptures and installation artworks that reference the instabilities extant in finding a place to call home. This body of work is deeply embedded in personal experiences stemming from frequent relocations as the child of a Canadian Armed Forces veteran. The artwork combines these experiences with connections to my Newfoundland heritage and the island’s highly mobile workforce through the use of found objects and reclaimed materials. v Preface This body of artworks and the accompanying support paper are original and independent work by the artist, Victoria Verge. Generative AI was not used in the research, drafting, or preparation of the artwork or support paper. The development of this work was supported through the edits and input of my supervisor, Briar Craig, and supervisory committee, Renay Egami, Samuel Roy-Bois, and Sue Frohlick. vi Table of Contents Abstract ......................................................................................................................................... iii Lay Summary ............................................................................................................................... iv Preface ............................................................................................................................................ v List of Figures ............................................................................................................................. viii Acknowledgements ...................................................................................................................... ix Introduction ................................................................................................................................... 1 i. Where am I from? .................................................................................................................... 1 ii. Where are we from? ................................................................................................................ 2 iii. Why am I here?...................................................................................................................... 5 PART ONE – Theoretical Framework ..................................................................................... 10 Chapter 1 – Labour and Mobility ............................................................................................. 10 1.1 Military Relocations............................................................................................................ 10 1.2 Labour Mobility in Newfoundland ..................................................................................... 12 1.3 Gender Inequality in the Home ........................................................................................... 15 Chapter 2 – Place and Identity .................................................................................................. 19 2.1 The Intersection of Place and Identity ................................................................................ 19 2.2 Effects of Colonization on Canadian Housing Practices .................................................... 21 2.3 Socioeconomic Standing and Housing Location ................................................................ 24 PART TWO – Methodologies .................................................................................................... 28 Chapter 3 – Materials ................................................................................................................. 28 3.1 The Lived Histories of Objects ........................................................................................... 28 3.2 Evidence of the Domestic ................................................................................................... 31 3.3 The Artists Collection ......................................................................................................... 34 Chapter 4 – Movement and Sound ............................................................................................ 40 4.1 My Journey into Mechanics ................................................................................................ 40 4.2 Sound and Memory ............................................................................................................. 45 4.3 Installation Magic ............................................................................................................... 48 vii Conclusion ................................................................................................................................... 53 Bibliography ................................................................................................................................ 56 viii List of Figures Figure 1. Victoria Verge, Toppling Furniture, Kelowna Art Gallery, 2024…………………..…7 Figure 2. Victoria Verge, Chasing the Echoes of Home, Kelowna Art Gallery, 2024 (Photo by zev tiefenbach) ……………………………………………………………………………………8 Figure 3. Victoria Verge, And I thought that if I kept building…I’d find it., Kelowna Art Gallery, 2024 (Photo by zev tiefenbach)…………………………………………………………………...9 Figure 4. Victoria Verge, Chasing the Echoes of Home (detail), Kelowna Art Gallery, 2024 (Photo by zev tiefenbach)…………………………………………………………………….….18 Figure 5. Victoria Verge, Chasing the Echoes of Home (detail), UBCO, 2024 (Photo by zev tiefenbach)………………………………………………………………………………………..29 Figure 6. Victoria Verge, What is fragile? (exhibition installation view), Kelowna Art Gallery, 2024 (Photo by zev tiefenbach)……..…………………………………………………………...32 Figure 7. Victoria Verge, The Collector, Grenfell Art Gallery, Memorial University, 2015…...37 Figure 8. Victoria Verge, Artists’ Collection (detail), MFA Studio Space, UBCO, 2023…...…39 Figure 9. Victoria Verge, HOME. HERE., UBCO MFA Studio Space, 2022………………….41 Figure 10. Victoria Verge, Rise and Fall, FINA Gallery, UBCO, 2023……..…………………43 Figure 11. Victoria Verge, Chasing the Echoes of Home (installation detail), Kelowna Art Gallery, 2024……………………………………………………………………………………..49 Figure 12. Victoria Verge, And I thought that if I kept building...I'd find it, Kelowna Art Gallery, 2024………………………………………………………………………………………………51 ix Acknowledgements I would like to express my heartfelt gratitude to the many individuals who have supported me throughout this journey. The close-knit community I’ve been fortunate to work within these past two years has become more than just a network – it has become a home. In a world where the meaning of home is ever-shifting and layered with complexity, this community has offered me a profound sense of belonging. It is here, amidst a shared passion for art and culture, that I have found not only inspiration but also space for growth and self-discovery. With deep appreciation, I would like to acknowledge the individuals whose kindness, guidance, and inspiration have been essential to my path. First and foremost, I extend my deepest thanks to my supervisor, Briar Craig, for your wisdom and patient guidance, which have been a cornerstone of my growth. To my supervisory committee – Samuel Roy-Bois, Renay Egami, and Sue Frohlick – thank you for your insights, encouragement, and for pushing me to explore the edges of my creative limits. I am thankful to my colloquium instructors, Nancy Holmes and Shawn Serfas, for cultivating a space for thoughtful exchange and intellectual curiosity. To Tania Willard, my graduate studio instructor, thank you for your mentorship in navigating the complexities of artistic expression. And to Patrick Lundeen, my advanced sculpture instructor, your fearless approach to sculpture has influenced my own work in profound ways. I also want to thank Nathalie Hagar, David Doody, and Andreas Rutkauskas, with whom I worked during my TAships. Your teaching shaped my understanding of pedagogy, and your support throughout those experiences was deeply appreciated. A heartfelt thanks to the amazing FCCS staff and technicians - Connor, Kaila, Philip, Sam, Joanne, Shauna, Lacia, and Lindsay - who ensured I always had the tools to succeed. I am grateful to the Audain Foundation for their generous support, which made essential x aspects of my research possible. To my Sculpture II (VISA 245 2024 winter term 2) students, it was a privilege to teach and learn from you. Your enthusiasm and curiosity reignited my passion for sculpture, and I look forward to watching you all grow as artists. To my cohort – Jessie, Troy, zev, Bengi, Bibek, Tom, Miriam, Ronan, Annie, Juniper, Mackenzie, and Miracle – you have been my companions through the highs and lows. Our friendships are woven into every part of this journey, and I’m thankful for the laughter, support, and solidarity we shared. A special thanks to zev tiefenbach, my studio mate and friend, for consistently challenging me and pushing me beyond what I thought was possible. Outside of the university, I am grateful for the support from the staff at the Kelowna Art Gallery, who played an integral role in the production of my thesis exhibition, What is fragile? My thanks go to Christine May, Nataley Nagy, Clea Haugo, Aidan Peleato, Angie Wells, Kyle Poirier, Sumi Ali, and Josh Desnoyers for their dedication throughout the process. I also want to thank Wanda Lock, curator of the Lake Country Art Gallery, for her insightful conversations and feedback, which helped shape my ideas. I especially want to thank my family back in Newfoundland – my mom, dad and sister – whose unwavering belief in me and my art has been a constant source of strength, you have always been my foundation, no matter how far I’ve roamed. To Patrick Ng, your support, kindness, and generosity have been a constant presence, and I appreciate how you stood by me throughout this process. Lastly, to my cat Lucy – thank you for the late-night snuggles that brought me calm when stress became overwhelming. Your presence was a quiet, comforting reminder of home. 1 Introduction i. Where am I from? “Where are you from?” – a seemingly innocuous question that has, for much of my life, elicited a complex, ever-evolving set of responses. I was born in Calgary, yet my earliest memories remain elusive, obscured by the constant flux of relocation. The transient nature of my upbringing, shaped by my father’s military service, became a defining characteristic of my existence. Calgary, Edmonton, Oromocto, St. Albert, Stephenville – the names blur into a mosaic of ephemeral homelands, each imbued with its own fleeting sense of familiarity before yielding to the inexorable pull of departure. The military, an institution often lauded for its steadfastness, paradoxically instilled in me a restlessness that defies geographical boundaries. Though I am tempted to assign blame – to point fingers at my father, at the nomadic nature of military life – the truth, upon reflection, lies deeper within myself. Embedded within the marrow of my being is a longing for a place to call home – a yearning that transcends the fleeting comforts of bricks and mortar. Compounding the intricacies of my identity was also my family's annual pilgrimage to Newfoundland, a journey that bridged the gap between my mainland transience and island roots. Amidst the rugged beauty of the Newfoundland landscape and the warm embrace of my extended family, I still found solace in my increasingly mobile life. Yet, these journeys were not without their contradictions. In Newfoundland, we were the outsiders – the “Mainlanders” – strangers now to this land steeped in ancestral memory. And upon our return, with traces of a “Newfie” accent clinging to our tongues, we found ourselves estranged from the “Mainlanders” – the perpetual outsiders. 2 This journey of constant movement and shifting identity has shaped not only how I perceive home but also how I understand myself within the world. The interplay between temporary spaces and rooted heritage has left me suspended between places, yet it also instilled a profound appreciation for the fragments of familiarity and connection I encounter. In navigating the complexities of being both a “Mainlander” and a Newfoundlander,” I have come to recognize that home is not a fixed location but an evolving concept, one that I continue to explore and redefine through my art and personal reflections. ii. Where are we from? “Space defines landscape, where space combined with memory defines place.” Lucy Lippard (9) Lippard aptly noted that space not only defines landscape but when combined with memory, it shapes our sense of place. In examining my familial lineage, rooted in the rugged terrain of Newfoundland, a convergence of diverse cultural and Indigenous influences emerges. Newfoundland's demographic landscape is shaped by the Indigenous heritage of the Beothuk, Mi’kmaq, and Inuit peoples, along with successive waves of European settlers, particularly from England and Ireland, attracted by the fishing industry. This blend, enriched by modern global immigration, has created a unique cultural identity marked by a fusion of Indigenous traditions, European customs, and contemporary influences. My ancestry is traced back to the Mi’kmaq people, indigenous to the island, as well as settlers from England and France. However, my direct connection to my Mi’kmaq heritage has largely faded over generations. My father and his family did not integrate Mi’kmaq traditions into daily life, resulting in a gradual assimilation into settler culture. While I feel a strong desire 3 to explore and reconnect with this part of my heritage, I understand that doing so requires both respect and time, as well as a commitment to deep learning and research. For now, reflecting on the complex interplay of historical migrations and Indigenous connections that characterize Newfoundland’s demographic landscape, I can begin to grasp how these layered histories influence my understanding of home and identity. At the heart of Newfoundland’s demographic landscape are stories of resilience and adaptability, traits that also permeate my family history. My maternal grandfather, a dedicated worker in Newfoundland’s fishing industry, embodied the diligence and steadfastness required for his work on the docks and in the processing plants. As the fishing economy declined, he, like many others, adapted by taking work wherever he could find it. He spent a brief period as a mechanic and later turned to the small agricultural industry in our part of the island, selling vegetables alongside my grandmother’s homemade pies to the local community. His story reflects the adaptability inherent in Newfoundlanders’ pursuit of livelihood amidst economic fluctuations. Similarly, my paternal grandfather, a miner, exemplified the itinerant lifestyle shaped by the transitory nature of the mining industry. His frequent relocations to and from different mining camps underscore the resilience and pragmatism ingrained in Newfoundland’s working-class ethos. Against the backdrop of harsh climatic conditions and limited resources, my ancestors cultivated a strong sense of community, solidarity, and self-reliance. Engaging in subsistence practices such as hunting, fishing, and berry-picking, they navigated the challenges of the island’s rugged landscape with resourcefulness and ingenuity. The island’s long-standing traditional rug hooking methods embrace this resourcefulness as the production of these rugs hinges on the reuse of old clothing or scrap materials that are no longer usable elsewhere. They 4 transformed driftwood into furniture and other household items, demonstrating their ability to repurpose natural resources creatively. The creation of “ugly sticks,” a unique percussion instrument made from household items and bottle caps, further highlights their inventive spirit. The tight-knit social fabric of small outport communities facilitated mutual support networks, exemplifying the communal ethos that underpins Newfoundland’s cultural identity. While my own experiences have led me away from many of the traditional Newfoundland ways of life, the enduring influence of my ancestral heritage remains palpable through my artistic practice. The deep-rooted stories, folklore, and cultural expressions of Newfoundland, coupled with the ethos of resilience and adaptability, are evident in my work where I use found objects and an ad-hoc approach to building sculptures, reminiscent of the island's survival techniques. In the body of sculptural work that I produced for my MFA graduating thesis, Chasing the Echoes of Home, I employ these approaches as I grapple with the multifaceted concept of home and belonging. Using found objects and reclaimed wood, I seek to evoke the spirit of resourcefulness and resilience intrinsic to Newfoundland’s cultural fabric. The incorporation of rudimentary mechanical elements in my sculptures pays homage to the innovative spirit and practical ingenuity synonymous with Newfoundland craftsmanship. From the intricate designs of traditional folk art to the pragmatic engineering of fishing vessels, Newfoundland’s artisanal heritage serves as a source of inspiration and cultural resonance in my artistic practice. Through an interdisciplinary approach that bridges personal narrative with material expression, I articulate the nuanced complexities of identity and belonging within the Newfoundland context. As Lucy Lippard observes, the fusion of space and memory defines our sense of place. In my case, this connection to Newfoundland transcends geography; it is rooted 5 in the collective memories of generations past, woven into the fabric of familial lore and cultural heritage. It is these inherited memories, alongside my own fond recollections, that fill my connection to this place with a depth of resonance that defies temporal and spatial boundaries. As such, my artistic practice serves not only as a reflection of my own journey but also as a testament to the enduring legacy of Newfoundland's cultural landscape—a landscape shaped by the indomitable spirit of its people and the echoes of generations past. iii. Why am I here? In contemplating my current presence upon the unceded traditional and ancestral territories of the Okanagan Syilx peoples, I am compelled to reflect not only on my physical location but also on the purpose that drives my artistic journey. This question (Why am I here?) is not posed in an existential sense but rather serves as a grounding point from which to contextualize my creative endeavours within the MFA program and my creative practice. My arrival in this territory followed a short period of residence in Moose Jaw, Saskatchewan – a transition perhaps spurred by an inherent restlessness or an earnest quest for change. The allure of Okanagan Lake and the temperate climate of this region beckoned, promising new horizons and fresh opportunities. However, my time here has not been without its lessons. As I bear witness to the encroaching wildfires, the relentless march of urban sprawl, and the growing spectre of homelessness, I am confronted with these stark realities of contemporary existence and how this is inevitably changing our relationships with our homes and housing in general. It is against this backdrop of ecological urgency and societal discord that my artistic practice can find additional resonance. Through the installation of my works in my graduate exhibition What is fragile? (on display at the Kelowna Art Gallery from April 20 to July 12, 6 2024) I aim to evoke a sense of introspection and contemplation in viewers, inviting them to engage with the intricacies of our increasingly complicated relationships with our housing experiences. As they discover the mechanical possibilities of the small house sculptures (Figure 2) and listen to the echoes of their slow collapse and resurrections, the current housing crisis becomes an additional reading within this context. Upon entering the gallery, visitors first encounter a suspended dining room table and chairs, poised precariously in mid-descent (Figure 1), serving as a metaphor for a perpetual quest for domestic stability – a journey marked by uncertainty and anxiety in our current climate. As visitors walk past the gallery wall lined with six mechanical houses, they trigger motion sensors that play the sound recordings of the houses’ past movements, reverberating through the space and acting as an embodiment of my many attempts to find home. At the journey’s end, in a small back room, a solitary desk adorned with a lamp and a half-finished model house indicates that this is an ongoing quest that may never be completed (Figure 3). In the remaining sections of this thesis support paper, I will investigate the theoretical underpinnings and methodological approaches that informed the creation of this body of work and continue to shape my current artistic practice. I examine the socio-political issues that underpin my work, foregrounding the intricate dynamics of labour and mobility, the effects of industry-related relocations on communities and individuals, and the intersections between location and identity. I outline my methodologies, emphasizing the significance of materiality, the incorporation of mechanics, and the immersive qualities of installation art. Over the course of my thesis, I reference the works of fellow artists whose practices have inspired and informed my own, situating my creative endeavours within the broader contemporary discourse of sculptural exploration. 7 Figure 1. Toppling Furniture, Kelowna Art Gallery, 2024 8 Figure 2. Chasing the Echoes of Home, Kelowna Art Gallery, 2024 (Photo by zev tiefenbach) 9 Figure 3. And I thought that if I kept building…I’d find it., Kelowna Art Gallery, 2024 (Photo by zev tiefenbach) 10 PART ONE – Theoretical Framework Chapter 1 – Labour and Mobility 1.1 Military Relocations My exploration of relocation begins with my immediate family’s foundation in military service. The insecurities present in my connections (or lack of connections) to home and community due to my frequent experiences with relocation originate from this background. Through examining industries with high relocation rates across Canada, such as mining, oil extraction, and fishing, we encounter a landscape where mobility for employment becomes a common feature. Workers in these sectors often navigate geographical shifts driven by operational demands or market fluctuations. However, within this context, the high relocation rates of the military stand out; in the Canadian Armed Forces (CAF) this is referred to as a posting. According to a report conducted by the Canadian Forces Morale and Welfare Services, “Relocations Research Synthesis Infographic”, one in two regular force service members receive a posting instruction annually. These frequent relocations result in significant upheaval, affecting stability, community ties, and the sense of home. The frequency and nature of military relocations are influenced by several factors; strategic deployments, training requirements, and promotions often necessitate moves to different bases across the country or even internationally. For instance, a member of the CAF may be stationed at Canadian Forces Base (CFB) Halifax and then be required to move to CFB Esquimalt or CFB Valcartier as part of their career progression or operational assignments. Such relocations are integral to maintaining operational readiness and ensuring that personnel are where they are most needed at any given time. The systemic and obligatory nature of these 11 moves sets military personnel apart from their civilian counterparts, whose relocations are more likely to be carefully negotiated and less frequent. In comparison, other employment fields in Canada exhibit different patterns of mobility, for instance, professionals in sectors like healthcare, education, and technology may relocate, but these moves are typically less frequent and often driven by personal choice or career advancement opportunities. The mobility required in these fields is usually more predictable and planned, allowing individuals to make long-term arrangements. Moreover, many civilian professions allow for remote work or flexible working conditions, which can mitigate the need for physical relocation. This is in stark contrast to the military, where physical presence in specific locations is often non-negotiable due to the nature of the duties involved. The unique nature of military relocations also has broader implications for the families of service members. Frequent moves can disrupt family life, affecting spouses’ employment, children’s education, and overall family stability. This transient lifestyle not only disrupts social continuity but also shapes one’s identity and sense of belonging. While the Canadian military does provide some support services to ease these transitions, such as relocation assistance programs and family support centres, the challenges associated with frequent relocations are a distinctive aspect of military life that is not as prevalent in other sectors. This underscores the uniqueness of military service as a profession that demands a high degree of personal and familial adaptability. For me, growing up as a military child meant that my world was in constant motion, each posting marked a chapter in a narrative of unyielding change, a tale of packing and unpacking, of saying goodbye and embracing new beginnings. The spouses and children of CAF members are categorized as civilians; however, our lives are almost entirely controlled by military command, 12 leaving us estranged from a typical civilian domestic structure. Dr. Leigh Spanner notes that “[t]he military family calls into question the artificiality of the military-societal binary in a most direct way. Military family members are citizens who live every day on the hyphen of the military-societal dualism” (485). An element of my artwork explores life on that hyphen, how moving from military base to military base every two to three years creates an ephemeral home that exists in this liminal state of inclusion between the military company and the civilian community. The transitory nature of my childhood necessitated that I learn the art of adaptability – unfolding my identity in different stages, weaving new connections, and finding stability amid constant change. 1.2 Labour Mobility in Newfoundland Although I grew up navigating various landscapes, Newfoundland remained a constant due to my family's connections to the province. However, our annual pilgrimage to the island taught me that in Newfoundland, jobs often require individuals to leave their homes for extended periods as well. According to a 2019 study, Newfoundland and Labrador have historically had the highest share of outgoing interjurisdictional employees among Canadian provinces (Newfoundland and Labrador Department of Finance 2). In exploring labour mobility within Canada, it becomes evident that provinces with lower incomes often experience higher rates of individuals travelling for work, particularly in blue-collar and manual labour industries. Diminishing economic prospects compel workers to seek employment opportunities elsewhere, leading to increased mobility. This pattern is particularly pronounced in Newfoundland and Labrador, where many individuals must leave their homes to earn an income and support their families. Separation from loved ones, strained relationships, and financial instability are common issues for these 13 individuals. In an article titled “Psychosocial Problems of Job Relocation: Preventive Roles in Industry,” social workers Anderson and Stark highlight how the psychological toll of prolonged separation and uncertainty adds complexity to the experiences of mobile workers and their families: Studies of lifestyles of people in occupations with high rates of job transfer indicate a profile of stress symptoms called mobility syndrome. The symptoms include depression, deterioration of health, little community involvement, strong dependency on the marital relationship for emotional satisfaction, a significant rate of alcoholism, pervasive feelings of social anonymity, diffusion of individual responsibility for social acts resulting in a lack of involvement, destructive aggression, marital discord, and high divorce rate. (Stark et al. 38) The phenomenon of Newfoundlanders working away from home is intricately tied to various socio-economic factors. One of the province’s biggest economic challenges was the moratorium placed on the Northern cod fishing industry in 1992 and unemployment levels have remained high since then, resulting in heavy reliance on government aid and increased out-migration – in the 10 years following the moratorium, the province's population dropped by a record 10 percent (Higgins). As researcher Jenny Higgins highlights, many individuals now seek employment opportunities outside Newfoundland and Labrador to sustain their livelihoods, reflecting broader trends of out-migration and economic instability observed in resource-based regions. Industries like fishing and mining have declined, leaving few options for local employment. Additionally, the seasonal nature of many industries, such as fishing and tourism, exacerbates economic insecurity, prompting individuals to seek work elsewhere during off-season periods. 14 The allure of higher wages and better benefits outside of the province acts as a strong incentive for Newfoundlanders to work away from home. “NL had the most workers heading to Alberta, peaking at 14,025 workers in 2008 and in Atlantic Canada, outgoing interjurisdictional workers from NL tended to have the highest average earnings from interjurisdictional employment ($38,100/year)” (Neil et al. ii-iii). Jobs in industries like oil and gas, construction, or mining offer more lucrative opportunities compared to local options, driving individuals to pursue employment elsewhere for financial stability. Evidence suggests that military recruiters disproportionately target communities with lower incomes and fewer educational opportunities like those in Newfoundland. According to a recent CBC article on military enlistment in Atlantic Canada, “recruitment efforts are concentrated in regions facing economic challenges, where promises of financial stability and career advancement resonate deeply with young individuals seeking opportunities amidst limited prospects” (Roberts). As highlighted in this article, enlistment in the Canadian Forces is often seen as a way out for young people in smaller communities with few job prospects. Cultural norms and family traditions also play a significant role in shaping Newfoundlanders' propensity to work away from home. The province has a rich history of migration, with many families tracing their roots to ancestors who sought opportunities abroad, whether in mainland Canada or further afield. This legacy of mobility has become deeply ingrained in the cultural fabric of Newfoundland, shaping attitudes towards work and economic opportunities. Additionally, the close-knit nature of Newfoundland communities fosters a sense of resilience and adaptability among its residents. Families often view working away from home as a necessary sacrifice for the greater good of the family unit, with individuals taking on employment opportunities wherever they may arise to provide for their loved ones. Brenda 15 Grzetic, researcher for Coasts Under Stress at Memorial University, describes this phenomenon in her essay “Ruminations on Ephemerality” when she states: “Home” is a metaphor for the security and protections they seek and deserve. It is a place of recuperation where people act to restore their health and live a decent life with enough finances to survive. “Away” they ensure their financial well-being while absorbing the impacts of other crises and the privileges of neo-liberalism, where employers and governments are free of accountability and able to dismiss any meaningful responsibility for social reproduction. (Neis et al. 74) This communal ethos reinforces the importance of mobility as a means of securing livelihoods and supporting familial obligations. Cultural narratives and storytelling traditions within Newfoundland often misguidedly romanticize the experiences of those who have worked away from home, portraying them as adventurous and resourceful individuals who overcame adversity to succeed. These stories serve as inspiration for younger generations, instilling a sense of pride in the resilience and resourcefulness of Newfoundlanders in the face of economic challenges. Despite the hardships associated with working away from home, many Newfoundlanders view mobility as a rite of passage, a testament to their strength and determination to persevere in the pursuit of a better life. 1.3 Gender Inequality in the Home Labour mobility often exacerbates gender inequality within heteronormative households, particularly when one spouse is required to travel for work. This phenomenon highlights entrenched gender roles and expectations that persist despite advancements in gender equality in the workplace and society at large. When a spouse, typically a male partner in a heterosexual 16 couple, is required to travel for work, it often falls upon the female partner to assume additional responsibilities for household and caregiving duties, resulting in a disproportionate burden of unpaid labour being placed upon women. Traditional Western, settler-based, gender norms dictate that women are primarily responsible for domestic tasks and childcare, even in dual-income households. When a male partner's job requires frequent travel, these gendered expectations become amplified, leading to an imbalance in the distribution of household labour, particularly in households with incomes or cultural practices that do not allow for hiring domestic workers. Gender inequality in the home can also have long-term consequences for women's career advancement and economic independence. The additional caregiving responsibilities and other factors, such as limited access to affordable childcare and sexist attitudes towards women’s paid employment, limit their ability to pursue career opportunities or invest in their professional development, perpetuating a cycle of economic dependence. In a study conducted by gender equality researchers Janell C. Fetterolf and Laurie A. Rudman, where they examined the economic and psychological factors that affected married parents’ domestic labour in the United States, they found that relative income increased feelings of domestic entitlement for both men and women; the more money participants made relative to their spouses, the more entitled they felt to do less than half of the domestic labour (Fetterolf and Rudman 222). As pointed out in the Interjurisdictional Employment article by Neil and Neis, the Atlantic Provinces tended to have the lowest proportion of female outgoing interjurisdictional workers (IJWs), ranging from approximately 25% to 35%. NL consistently had the lowest proportion of women IJWs overall (Neil and Neis 5). This disparity further underscores the gendered nature of labour mobility and its implications for gender equality within Newfoundland families. 17 The pervasive gender inequality in a home, exacerbated by labour mobility, resonates with my personal experiences and informs my artistic practice. Growing up, I witnessed my mother balancing caregiving, household duties, and employment while my father served in the military. This shaped my perspective on the fragility of domestic structures considered normal in dominant Canadian society. Women often need to be more resourceful when the primary wage earners are away, finding creative solutions to manage the household with limited resources. This inherent (and socially and generationally learned) resourcefulness in women’s lives is a testament to their resilience, adaptability, and lack of choice in the face of constant challenges. Through my sculptures, I address traditional binary gender roles embedded within these structures and reflect critically on the unequal distribution of labour and the broader societal norms perpetuating gender inequalities. I incorporate common household items in my sculptures, such as wooden spools that once held thread (Figure 4), handles from rolling pins, wallpaper, and, notably, the toppling kitchen table. By situating these objects in my work, I create throughlines that connect the stories of caregiving labour within nuclear domestic environments. My use of found objects and the reuse of materials embodies this notion of resourcefulness, transforming the mundane into powerful symbols of women’s strength, ingenuity, and vulnerability. 18 Figure 4. Chasing the Echoes of Home (detail), Kelowna Art Gallery, 2024 (Photo by zev tiefenbach) 19 Chapter 2 – Place and Identity 2.1 The Intersection of Place and Identity In exploring the emotional dynamics of displacement and the construction of location-based identity, I draw upon Lucy Lippard's analysis in Lure of the Local. Her exploration resonates with me as I navigate the complexities of my own identity amidst geographic upheaval. As I traversed physical and metaphorical borders, I found that official boundaries can be “internalized; county, state, and national borders have become identity makers” (77). This insight mirrors my journey of grappling with identity in relation to the places I have lived and travelled. Relocation, whether forced or voluntary, generates a multitude of emotions and challenges as individuals grapple with the rupture of their ties to a familiar place. In an increasingly globalized world, where highly mobile lifestyles are becoming commonplace, the ways in which we construct our identities now take on new dimensions. As individuals find themselves leaving behind familiar surroundings, they are confronted with the task of renegotiating their sense of self in unfamiliar terrain. Drawing upon personal narratives, cultural expressions, and collective memory, individuals construct narratives of place that are deeply intertwined with their sense of self. Lippard’s Lure of the Local has informed my understanding of how these location-based identities can act as anchors amidst the flux of relocation. Whether through nostalgic recollections of a childhood home or the cultivation of new connections in a foreign land, individuals often construct identities rooted in place that offer a sense of stability. Just as Lippard examines the geographical ties that place has to identity, she also notes that “although tradition has it that the longer a family has occupied a place, the deeper the roots, psychological ties can be as strong as historical ones, and they can be formed by 'rootless' individuals if their longing for roots is strong enough” (42). As a self-identifying "rootless" 20 individual, I have often longed for stability and an attachment to a place. Despite not being born there, I have formed a strong bond with Newfoundland, now lovingly calling it my home. This intimate connection challenges traditional notions of rootedness and underscores the complexity of identity formation in the face of displacement. I have observed that over time the feelings of displacement that individuals experience can evolve significantly. While being uprooted is initially a profound challenge, these emotions can fade as new experiences and attachments grow. For instance, a teenager who is forcibly displaced from a beloved hometown may initially feel a deep sense of loss and disorientation. However, as time passes, the same individual might begin to develop new connections and attachments to their new environment. This transformation from displacement to re-grounding illustrates how identity markers can shift and adapt. The initial upheaval can give way to a sense of belonging in a new place, demonstrating the resilience and adaptability of the human spirit. New experiences, friendships, and opportunities can lead to the formation of new identity markers, ultimately allowing individuals to integrate their past with their present in meaningful ways. Looking to the future, the increasing prevalence of highly mobile lifestyles and digital connectivity may further transform identity construction. As individuals navigate the ever-changing landscapes of place and identity, understanding these dynamics becomes increasingly important. However, this exploration of displacement and location-based identity is not merely an academic pursuit but a deeply personal and shared journey. Through this exploration, I aim to bridge the realms of academic inquiry and artistic expression, offering insights into the ways that individuals navigate the quest for belonging amidst geographic and social upheaval. As I continue to navigate my own journey of identity formation, both academically and artistically, I 21 remain committed to unravelling the complexities of place and identity, seeking to forge connections and foster empathy in an increasingly mobile world. 2.2 Effects of Colonization on Canadian Housing Practices Much is at stake in the domestic. Houses speak obviously and loudly to their environments. They are concrete evidence of material conditions, of wealth and poverty, and of the economies that create and the divisions of labor that sustain them…More than simply reflecting the organization and use of space, homes, like maps, actively shape the way people both imagine and live their social roles. Given the many meanings attached to houses, it is not surprising that they became contested sites in the colonial encounter. When natives and newcomers clashed over the household space, they were playing out one component of a larger clash over appropriate gender, economic, and settlement patterns, over, in other words, the politics of daily life. (Perry 587) Colonization fundamentally altered the relationship between Indigenous peoples and the land, leading to displacement, dispossession, and the imposition of Eurocentric housing practices. One of the many lasting legacies of colonization is the displacement of Indigenous communities from their traditional lands and the forced assimilation into Eurocentric housing models. Prior to colonization, Indigenous peoples across Canada had diverse housing practices that were deeply interconnected with the land and reflective of cultural traditions and values. However, colonial policies such as the Indian Act and the imposition of reserve systems disrupted these practices, almost completely extinguishing them, resulting in the construction of standardized, government-issued housing that failed to account for the unique needs and cultural identities of Indigenous 22 communities. For example, the Royal Commission on Aboriginal Peoples (RCAP) Report (1996) documents how the shift to reserve-based housing ignored Indigenous cultural preferences, often leading to inadequate and culturally inappropriate living conditions, further perpetuating the disconnection from traditional land-based practices and community structures (Royal Commission on Aboriginal Peoples 4: 129). Furthermore, colonization enabled the commodification of land and the prioritization of profit-driven development over human relationships with the land and “based as it is on a resource extraction economy, Canada has in the past and remains to this day deeply dependent upon colonized land and resources to sustain its economy” (Monk 13-14). As settlers encroached upon Indigenous territories, land was seized, resources were exploited, and Indigenous peoples were marginalized, further eroding their connection to the land and diminishing the importance of traditional housing practices. Adding to this, the “60s Scoop” saw thousands of Indigenous children forcibly removed from their families and communities to be placed in residential schools or foster care, further disrupting cultural continuity and contributing to the alienation from traditional ways of living. As I understand it, historical policies and practices aimed at displacing Indigenous peoples and restricting their access to land have had long-lasting impacts on their housing situations. Contemporary Indigenous artists, such as Rebecca Belmore, address these issues through their work, shedding light on the ongoing effects of colonization on housing and identity. Belmore’s piece Biinjiya’iing Onji (From Inside) (2017) is particularly relevant as it features a hyper-realistic carving of a tent constructed out of marble which raises questions about temporality and permanence. Symbolizing the fraught relationship between Indigenous peoples and the imposed colonial housing system, this artwork serves as a reminder of the dislocation and displacement experienced by Indigenous communities. 23 The legacy of colonization continues to shape housing policies and practices in Canada. Government policies often prioritize urbanization and economic development at the expense of Indigenous land rights and community autonomy. This has resulted in the proliferation of urban sprawl, gentrification, and the displacement of marginalized communities, further exacerbating housing insecurity and disconnecting individuals from the land and their cultural heritage. For instance, a report by the United Nations Special Rapporteur on the Rights of Indigenous Peoples (2014) highlights how resource development projects and urban expansion have frequently infringed upon Indigenous lands in Canada, undermining community autonomy and cultural connections to traditional territories, while contributing to systemic housing insecurity and social displacement (Anaya 17-20). Through the examination of housing structures in my thesis work, I found myself grappling with the pervasive influence of colonial powers on this subject. As I delved into the complexities of transience and disconnection from home and land, I discovered a deepening connection to my Mi'kmaq ancestry and gained insight into my father's childhood experiences. A significant milestone in this journey occurred through the support of the Audain Foundation, which enabled me to embark on a research trip to southern Ontario to explore military housing units. Accompanied by my father, whose childhood experiences mirrored the themes I was exploring, I gained a deeper understanding of his upbringing. Raised amidst the intersection of his mother's Mi'kmaq lineage and his father's cyclical employment in the mines, he frequently found himself uprooted from mining camps to Indigenous reserves across the country. These shared similarities in our childhood experiences of frequent relocation, not only strengthened our familial bond but also enriched my understanding of the enduring impact of colonialism on housing practices and personal narratives of displacement. 24 2.3 Socioeconomic Standing and Housing Location The intricate connection between socioeconomic standing and housing location reveals much about identity construction and social stratification within Canada. How socioeconomic factors shape housing choices, and the broader implications for identity and social mobility, merit close examination in relationship to my work. In Canada, socioeconomic status has long determined where individuals and families can afford to live. Wealthier residents tend to inhabit affluent neighbourhoods with better infrastructure, higher-quality schools, and safer environments. These neighbourhoods often provide greater access to amenities such as parks, healthcare facilities and cultural institutions. In contrast, lower-income residents are frequently confined to areas with fewer resources, higher crime rates, and limited access to quality education and healthcare. The Public Health Agency of Canada reports that individuals living in lower-income neighbourhoods face significant barriers to accessing essential services, which contributes to ongoing cycles of disadvantage (Public Health Agency of Canada 61). The disparities in housing location based on socioeconomic standing can perpetuate cycles of poverty and limit social mobility. Research indicates that children raised in low-income neighbourhoods often encounter significant barriers to accessing quality education, which adversely affects their future economic opportunities. A study by Statistics Canada found that individuals from lower-income families are less likely to pursue port-secondary education, limiting their potential for upward social mobility (Statistics Canada). The social networks prevalent in affluent neighbourhoods provide valuable connections and support systems that are typically less accessible to those in economically disadvantaged areas, further perpetuating 25 cycles of poverty. The Great Canadian Class Study highlights that Canadians identifying as lower or working class have less optimism for future social mobility, underscoring the impact of socioeconomic disparities on access to opportunities (Angus Reid Institute). A relevant historical example of socioeconomic standing dictating housing location, which affected my family and many other Newfoundlanders greatly, was the Fisheries Household Resettlement Programme (FHRP). “This government-led initiative, implemented in the mid-1960s as a follow-up to the Centralization Programme that was conducted by the Department of Welfare, was put in place to encourage rural Newfoundlanders to move to designated “growth centres,” rather than to places thought not to be economically viable.” (Martin). While framed as a solution to economic struggles, the Resettlement Program resulted in the displacement of thousands of families, disrupting established communities and traditional ways of life. “Despite the superior social services of growth centres, especially in education, many new industries failed and resettled workers were displaced from their traditional livelihoods in the fishery. Social dislocation and alienation arose from poor social and economic integration within new communities” (Pitt). Many resettled individuals experienced significant upheaval as they adjusted to new environments, highlighting how socioeconomic policies directly impact housing locations and community identities. Gentrification is another phenomenon that highlights the dynamic interplay between socioeconomic status and housing location. As people with money move into these historically lower-income neighbourhoods, the property values subsequently rise, and long-time residents are displaced due to the increasing costs of living. This process not only alters the socioeconomic landscape of neighbourhoods but also raises questions about cultural identity and community cohesion. While gentrification can bring neighbourhood revitalization and improved services, it 26 frequently does so at the expense of marginalized communities, who bear the burden of displacement. Research by the Canadian Centre for Policy Alternatives (CCPA) indicates that gentrification often leads to the displacement of low-income residents, disrupting established communities and deepening housing insecurity. For instance, a study on Winnipeg’s West Broadway neighbourhood highlights how rising property values and redevelopment pressures have forced long-term residents to relocate, eroding community cohesion and cultural identity (Silver 14). Personal narratives and case studies provide poignant insights into how socioeconomic standing influences housing location and identity. For example, an individual from a low-income background who manages to move into a middle-class neighbourhood may experience a profound shift in self-perception and social interactions. The new environment can offer a sense of achievement and belonging, but it may also come with challenges such as feeling out of place or facing subtle forms of discrimination. In conclusion, socio-economic standing and housing location are deeply intertwined, influencing access to resources, social networks, and overall quality of life. On a broader scale, the spatial distribution of socioeconomic groups within Canadian cities and regions reflects and reinforces societal inequalities. Wealthy suburbs, impoverished inner cities, and diverse urban neighbourhoods each tell a story about the socio-economic fabric of Canadian society. Analyzing these patterns can reveal much about the opportunities and constraints that shape people’s lives and identities. As the issues of homelessness and housing crisis have been a common reading of my collapsing house sculptures, I began to deepen my scholarly inquiry into these intersections of place, identity, and social justice. By examining historical trends, contemporary phenomena, and personal experiences within the Canadian context, I was able to gain a comprehensive view 27 of how socioeconomic factors shape housing choices and their profound implications for identity and social mobility. 28 PART TWO – Methodologies Chapter 3 – Materials 3.1 The Lived Histories of Objects The lived histories of objects serve as a catalyst for narrative exploration and emotive resonance when incorporated into an artistic practice. At the core of my work lies a deliberate and meticulous engagement with materials that bear the marks of time and human touch, reflecting their lived experiences that reside within their weathered surfaces. Much like the tradition of folk art, which thrives on the repurposing of materials and the celebration of communal narratives, my artistic endeavours are also rooted in the ethos of making use of what is on hand. As Ray Cronin describes, “Classic folk art is the work of artists who did not think of themselves as artists, who made art that they never considered to be art at all. They made objects for their own amusement, or for the amusement of their family and friends” (2). This perspective underscores the authenticity and community-centred nature of folk art, an approach that resonates in my own work as I draw on familiar materials to create pieces embedded with personal and collective histories. In the case of my thesis project, this was exhibited through my use of reclaimed wood from old trunks and suitcases (themselves a tool used in relocation and moving) as the main material for the mechanical house sculptures (Figure 5). By using found materials to build the main structures of my sculptures, I was able to further infuse the houses with a sense of fragility and age, personifying their exhaustion from the relentless movement that was once inflicted upon them. 29 Figure 5. Chasing the Echoes of Home (detail), UBCO, 2024 (Photo by zev tiefenbach) Embedded within the discourse of found objects lies the legacy of the assemblage work of Marcel Duchamp, whose Readymades exemplify the transformative potential of recontextualizing everyday materials. “The unhindered flow of information from everyday life into the art world was made conscious and deliberate with Marcel Duchamp’s introduction of the Readymade” (63), according to Jonathan Walkins in his essay “Every Day” (1998). Much like Duchamp's selection and assemblage of everyday objects, my choice to use reclaimed wood and found objects as the primary materials for my mechanical house sculptures is imbued with a similar philosophy of reclamation and reinterpretation. I seek to infuse discarded materials with new significance and resonance, inviting viewers to reconsider their preconceived notions of 30 value and utility. In repurposing reclaimed wood from suitcases, I can evoke a sense of nostalgia and temporality, paying homage to the lived histories embedded within each weathered surface while simultaneously transforming them into vessels for storytelling and reflection. These materials serve as physical manifestations of time, capturing moments of everyday life that might otherwise be forgotten. Their presence in my sculptures allows for a dialogue between the past and present, highlighting the continuity and transformation inherent in human existence. This dialogue is crucial in my exploration of themes such as displacement, identity, and belonging, as it underscores the persistent impact of history on contemporary life. Moreover, the process of selecting and repurposing found objects is itself an act of storytelling. Each object is chosen for its unique characteristics and the story it conveys. The act of integrating these objects into a new composition mirrors the complexities of personal and collective histories, where disparate elements come together to form a cohesive whole. The significance of incorporating found objects into my sculptures extends beyond mere aesthetic choice; it serves as a testament to the interconnectedness of human experiences. Each object integrated into my work acts as a vessel for a multitude of memories, eliciting diverse narratives that resonate uniquely with each viewer. Once mundane and utilitarian, these objects undergo a transformative process within the context of the artwork, transcending their original function. While I may endeavour to shape a narrative through the deliberate selection and arrangement of specific objects, the inherent diversity of memories ensures that viewers will interpret the artwork through their own individualized experiences. This multiplicity of perspectives not only enriches the viewing experience but also underscores the dynamic and ever-evolving nature of artistic interpretation. 31 The heightened importance of working with found objects resonates within the contemporary capitalistic structure of North American countries, characterized by abundance and waste. In a society inundated with consumer culture and disposable commodities, the act of repurposing discarded materials assumes increased significance, offering a poignant commentary on the disposability of material culture and the urgent need for sustainable practices. By giving found objects new life and meaning, I can contribute to conversations surrounding consumption and waste, fostering a deeper appreciation for the inherent beauty and value within the everyday detritus of modern life. 3.2 Evidence of the Domestic Incorporating found objects that have clear ties to the domestic sphere is a deliberate and vital aspect of my sculptural practice. The use of items such as old spools of thread, rolling pin handles, and wallpaper not only evokes a sense of familiarity and nostalgia but also serves to highlight the often overlooked and undervalued aspects of domestic life. The objects, laden with evidence of everyday use, embody the intimate and repetitive tasks traditionally associated with the home. By weaving everyday artifacts into my sculptures, I aim to prompt viewers to reassess their relationship with the seemingly mundane objects that populate their homes. This concept is exemplified in the exhibition What is fragile?, where my installation features a toppling dining room table and chairs, suspended and embedded in the gallery walls, creating the illusion of cascading through a portal into our reality (Figure 6). This reinterpretation of a common household scene serves as a reminder of the precariousness inherent in our domestic lives, urging viewers to reflect on the fragility of domesticity. 32 Figure 6. What is fragile? (exhibition installation view), Kelowna Art Gallery, 2024 (Photo by zev tiefenbach) My mechanical house sculptures, based on the scaled-down dimensions of military housing units, further explore the domestic realm. Incorporating reclaimed wood from military housing demolition sites and everyday objects like spools of thread and fishing reels, these sculptures add layers of connection to the domestic sphere. By juxtaposing these disparate elements, I aim to highlight the intimate narratives embedded within these seemingly ordinary materials, hoping viewers recognize these objects and form deeper connections to the work. The domestic sphere has historically been relegated to the private realm, often dismissed as mundane or inconsequential in the broader narrative of art and culture. However, feminist art practice has long sought to challenge these hierarchies, reclaiming the home as a site of artistic 33 and cultural production. By incorporating domestic objects into my work, I align myself with this feminist tradition, emphasizing the inherent value and complexity of the domestic sphere. These objects, once mundane and utilitarian, are transformed within the context of my sculptures, symbolizing the intricate and multifaceted nature of domestic life. In this exploration of the domestic sphere, I draw inspiration from female artists such as Cornelia Parker and Rachael Whiteread, whose transformative use of domestic objects and spaces has left a lasting mark on contemporary sculpture. Parker's practice often revolves around the manipulation and transformation of everyday objects and environments, permeating them with new layers of meaning and narrative. Her seminal work Cold Dark Matter: An Exploded View (1991), for instance, presents a suspended reconstruction of a garden shed that has been exploded and then meticulously reassembled, frozen in a moment of animation. (Blazwick and Parker 9). This juxtaposition of destruction and preservation invites viewers to contemplate themes of temporality, memory, and the passage of time, resonating deeply with my own exploration of the transient nature of domestic spaces. Similarly, Rachael Whiteread is renowned for her evocative sculptures that capture the essence of domesticity and memory. Best known for her 1993 work, House, in which she cast the interior of an entire Victorian house in concrete before its demolition, Whiteread explores themes of absence, presence, and the passage of time. A casting of the space inside a derelict rowhouse, an impression of the aging walls of a Victorian interior, a revelation of something of the innards of the last of Grove Road’s terrace houses, the site-specific sculptural object that was House marked its relation not just to space but to place, to neighbourhood. No longer a 34 dwelling, a place of habitation, a site of domestic life, House stood as an eerie echo of its absent original, if not also, its urban environs (Saltzman 87). By preserving the negative space of the house, Whiteread creates a ghostly monument to the lives that once inhabited it, reflecting on the traces of human existence that linger within the built environment. In my artistic practice, I draw inspiration from Whiteread's meditations on memory and absence, to evoke a similar sense of nostalgia and resonance through my use of reclaimed materials and found objects imbued with personal histories and lived experiences. I infuse my sculptures with a sense of domestic intimacy and narrative richness, inviting viewers to engage with domestic objects and spaces in a new way as they are confronted with both their familiarity with the object and the uncanny ways in which it is used in the installation or sculpture. I create a space for reflection and contemplation, where the seemingly ordinary becomes embedded with profound meaning and significance. In the convergence of personal histories and collective memories, my sculptures serve as vessels for storytelling, preserving fragments of the past and offering glimpses into the complexities of the human experience. This approach not only elevates the status of these objects but also challenges the gendered divisions between public and private, art and craft, professional and amateur. 3.3 The Artists Collection The practice of collecting is deeply embedded in the artistic process, often serving as a wellspring of inspiration and a repository of materials. Many artists maintain extensive personal collections, accumulating items that may appear disparate or unrelated at first glance. These collections, however, are crucial for fostering creativity and innovation, offering a tangible link to the past and a source of continuous exploration. 35 While the phenomenon of collecting dates back millennia, with early examples such as the Ennigaldi-Nanna’s museum from 530 BCE and the Library of Ashurbanipal established around 650 BCE, the Cabinets of Curiosities, or Wunderkammer, of the Renaissance and Baroque periods are particularly relevant to the notion of the artist’s collection. These cabinets housed eclectic assortments of natural specimens, artifacts, and artworks, curated based on personal interest and curiosity. They represented the collector’s knowledge, curiosity, and status, bringing together objects from various domains to create a microcosm of the world. This practice highlighted the human desire to categorize and understand the world through material culture, much like artists do with their own curated collections. Michel Foucault’s The Order of Things delves into the intellectual underpinnings of such collecting practices. Foucault examines the ways in which objects are classified and the structures of knowledge that emerge from these classifications. He argues that the act of collecting and arranging objects is not merely about amassing items but about constructing a specific order and meaning. This theoretical framework can be applied to the artists’ collection, where the selection and arrangement of objects reflect the artist’s unique perspective and conceptual framework. Contemporary artists often continue this tradition of collecting, using their assemblages as both inspiration and raw material for their artwork. Mark Dion, for instance, is renowned for his extensive collections of objects that he incorporates into his installations. Dion’s practice involves meticulous research and curation, with his collections often displayed in ways that mimic scientific or historical presentations. His work blurs the boundaries between art, archaeology, and natural history, challenging viewers to reconsider the cultural and historical significance of the objects he collects. Dion’s installations, such as Tate Thames Dig (1999), 36 where he excavated and catalogued objects from the banks of the River Thames, exemplify the relationship between collecting and artistic creation. By presenting these found objects in a museum-like setting, Dion invites viewers to engage with the narrative potential of everyday items, exploring themes of history, memory, and cultural identity. His approach underscores the importance of the artist’s collection as a dynamic and evolving entity, where seemingly unconnected objects can come together to form new meanings and associations. For myself, the act of collecting holds an additional personal significance that stems from my frequent moves as a child and the consequent purging of belongings. As an adult, I find myself rebelling against this transience by embracing the practice of collecting and surrounding myself with objects that resonate with me on an emotional and aesthetic level. These collections serve as tangible manifestations of memory and identity, also allowing me to embody my Newfoundland heritage and further explore themes of resourcefulness and resilience. Reflecting on my artistic journey, I recall a pivotal moment during my undergraduate studies—a project from 2015 titled The Collector (Figure 7). 37 Figure 7. The Collector, Grenfell Art Gallery, Memorial University, 2015 38 The Collector was a large painting/assemblage/sculpture consisting of found objects overlayed on a canvas with a large painting of an anatomical Victorian-era medical drawing of an interior cross-section of a human head. Through the creation of this project, I familiarized myself with this connection between objects and personal identity, and how objects can embody the essence of their owners. This all stemmed from the thought that humans can live on through their possessions, the lived histories of these objects can hold some essence of their owners, and this essence ultimately personifies the object. By investing my interests into the lives of found objects for this project rather than following on my steady path of military-related artwork, I was able to realize that I was in fact indirectly exploring the role of the observer and how my upbringing caused me to become an observer rather than a participant in many situations as a means of adapting to my surroundings. The Collector then served as a metaphor for my role as an observer, collecting observations and memories much like one collects objects, as well as a reckoning with our fragile existence in this world, or in other words our mortality. It was a realization of the symbiotic relationship between the observer and the observed and a recognition of the humanity inherent in the objects we surround ourselves with. Thinking back to this pivotal work, I now see how this exploration contributed to my evolving understanding of identity and belonging. Throughout my artistic practice, the act of collecting has been an enduring ritual, shaping the creative landscape of my studio. Central to this practice is the consistent presence of a large shelving unit adorned with an eclectic array of items that capture my imagination (Figure 8). These objects, often mundane and of little monetary value, serve as a wellspring of inspiration, fostering an interplay between materiality and meaning. While not all of these collected items find their way into my artworks, they play a vital role in grounding me within the narratives I 39 seek to explore such as domesticity, nostalgia, mortality, and labour. As I navigate the studio space, these curated collections of objects ranging from old keys, bones, shells, books, tools, and toys, serve as tangible reminders of past experiences, cultural histories, and personal reflections, infusing my creative process with depth and resonance. Figure 8. Victoria Verge, Artists’ Collection (detail), MFA Studio Space, UBCO, 2024 40 Chapter 4 – Movement and Sound 4.1 My Journey into Mechanics My venture into mechanics commenced during an elective course, Advanced Practices in Sculpture, taken as a part of the MFA program, with a piece titled HOME. HERE. (Figure 9). Constructed from plywood and standing approximately four feet tall, this sculpture bore the words “home” and “here” laser-cut through its surface, glowing invitingly when the house was lit from within. What distinguished this work from my previous pieces was its collapsible design, initially conceived to optimize studio space but soon evolving into a central thematic element of my work. The ability of this sculpture to pack down and fit into the roof of the house, which folded like a suitcase, not only made it easily transportable but also mirrored the transient nature of objects, prompting me to explore how this quality could enrich my artistic discourse on displacement and relocation. 41 Figure 9. HOME. HERE., UBCO MFA Studio Space, 2024 42 Following this, I created Rise and Fall, a sculpture featuring a military housing unit crafted from sheer brown fabric situated on a purpose-built plinth equipped with a timer-controlled fan (Figure 10). When the fan blew air up into the fabric house, this mechanized setup caused the fabric structure to undulate, mimicking the rise and fall of breath. The influence of artist Do Ho Suh, particularly his work on the permeability and transience of home through structures made from sheer fabric, significantly informed the design of Rise and Fall. Suh’s sculptures, which often explore themes of migration, displacement, and personal space, resonate with my own explorations into the fragility and resilience of structures – both physical and metaphorical. Its successful exhibition in the Assemblage II: MFA Group Show affirmed my work's potential to incorporate movement effectively. Inspired by this success, I embarked on self-instruction in basic mechanical systems and Arduino coding during the summer of 2023. I also turned to the fascinating world of automata and early automatons to understand the basics of mechanical movement. The simple yet ingenious designs of automata served as an excellent starting point for developing mechanical components in my sculptures. These historical devices, ranging from playful toys to sophisticated simulations of human and animal actions, provided the inspiration I needed to integrate rising and falling movements into my sculptures. These sculptures would be depictions of single-family homes based on the PMQs (Private Married Quarters) from military bases where I spent my formative years. Using scrap wood and other found materials, I began experimenting and building my first moving prototypes, each iteration unveiling new problems to solve and prompting further exploration into different forms of movement. 43 Figure 10. Rise and Fall, FINA Gallery, UBCO, 2024 44 My engagement with architecture and the architectural model further explores the notion of transforming static, immobile structures into dynamic, moveable forms. This exploration challenges traditional perceptions of architecture as fixed and permanent, inviting a reconsideration of buildings as entities capable of movement and change. Through my sculptures, I aim to imbue architectural forms with kinetic properties, reflecting the fluid and often transient nature of modern living spaces. This approach not only disrupts the conventional understanding of architecture but also aligns with broader themes of displacement and adaptability, emphasizing the impermanence and flexibility inherent in the concept of home. A contemporary artist who engages with architecture in a way that resonates with themes of displacement and transformation is Sarah Sze. Known for her intricate installations that meticulously arrange everyday objects into sprawling structures, Sze’s work often bridges the gap between sculpture and architecture. Her installations, such as those seen in the Venice Biennale, use lightweight materials and delicate balances to create seemingly precarious structures that echo the vulnerability of transient spaces. For example, her piece Triple Point (Planetarium) (2013) reimagines architectural forms to reflect on the fragility and transience of the physical world, creating a dialogue between the permanence of built environments and the ephemeral nature of human existence. I also found inspiration in the works of Max Dean and Jean Tinguely, both renowned for their exploration of mechanized sculptures imbued with emotional depth. Max Dean's Robotic Chair (2006) stands as a poignant example of human vulnerability and resilience. In this installation, a mechanized chair continuously attempts to right itself after toppling over, evoking a sense of struggle and perseverance reminiscent of the human experience (Broeckmann 116-117). Similarly, Jean Tinguely's mechanical sculptures, characterized by their intricate and often 45 whimsical mechanisms, delve into the complexities of existence and the quest for meaning. Tinguely's Homage to New York (1960), a kinetic sculpture designed to self-destruct in a spectacular display of movement, speaks to the transient nature of life and the inevitability of change. Drawing on these artistic precedents that highlight, rather than conceal, the fragility of their materials and construction—embracing the ideas of destruction, temporality, and intentional lifespan—I decided to also embrace the constructed fragility of my prototypes. This approach symbolizes the resilience inherent in the human spirit and echoes the anxieties and aspirations embedded in the pursuit of home and belonging. These experiments culminated in Chasing the Echoes of Home, a collection of seven houses, each employing unique mechanisms – pulley systems, scotch yoke mechanism, gears, cams, cranks, and levers – to collapse and rebuild themselves. 4.2 Sound and Memory The integration of sound in contemporary art serves not only as an auditory embellishment but as a profound layer of communication that enhances the emotional and cognitive engagement of the audience. Sound, with its ephemeral and immersive qualities, has the ability to transport, evoke memories, and create an atmosphere that deepens the viewer’s connection to the artwork. In the context of my sculpture, Chasing the Echoes of Home, sound plays a pivotal role in bridging the gap between the physical presence of the sculptures and the intangible essence of memory they aim to invoke. During the creation of the mechanical houses, I would often film myself operating them to examine their movements and identify areas needing adjustment. This video footage not only 46 served as a critical tool in discussions with colleagues and professors but also revealed an unexpected aspect: viewers were particularly captivated by the sounds the sculptures made during operation. These auditory elements – ranging from subtle creaks to resonant thuds – imbued the sculptures with an essence of life, moving them one step further from inanimate objects to entities with a vivid presence. Inspired by this realization, I devised a system to integrate sound into the exhibition, allowing visitors to experience the sculptures’ movements indirectly through auditory cues. In Chasing the Echoes of Home, the mechanical sculptures – once in motion – leave behind a lingering auditory footprint that resonates within the enclosed gallery space. As viewers inspect the exposed mechanical systems of each house, unique sound recordings of their operation are triggered, allowing visitors to surmise what this house was once capable of. Although the sculptures themselves are static, the sounds of their previous movements – creaking wood, the whirl of gears, and the subtle click of a crank engaging – are triggered by the proximity of viewers using motion sensors. This setup creates a haunting echo of past movements, as if the houses themselves are replaying their own histories in response to the audience's presence. The sculptures remain dormant and not to be manipulated by the visitor signaling that this home or place of belonging is now just a memory. The use of sound in this way plays with the concept of memory by emphasizing the temporal distance between past actions of the sculptures and their present state. The triggered sounds serve as auditory ghosts, remnants that hint at a prior life filled with movement and change. This sensory element adds depth to the visual experience, suggesting that the memories and histories of these objects are not fixed but are continually reconstructed and remembered anew with each interaction. 47 Artists like Janet Cardiff and George Bures Miller are renowned for their use of audio to create immersive environments that weave complex narratives. A notable example of their work is The Forty Part Motet (2001), a reworking of Thomas Tallis’ 16th-century composition “Spem in Alium,” played through 40 individual speakers arranged in a circle. As visitors walk through the installation, they experience a blend of individual voices and the collective harmony, inviting a personal and communal encounter with sound that resonates with memories and emotions, much like the auditory experiences I aim to evoke in my own sculptures. Similarly, the conceptual approach of Robert Morris in his 1961 sculpture Box with the Sound of Its Own Making takes a foundational step in incorporating sound into the sculptural form. This piece consists of a wooden box accompanied by a recording of the sounds made during its construction. The work invites viewers to consider the act of making as intrinsic to the perception of the finished object, thus heightening their awareness of the process behind the physical form (Moszynska 88). In Chasing the Echoes of Home, the auditory element invites the audience to explore their own memories and associations, prompted by sounds that are both familiar yet disjointed from their physical manifestation. The decision to incorporate sound into the sculptures reflects a desire to challenge and expand the traditional boundaries of sculpture as a predominantly visual medium. By integrating audio, the sculptures transcend their physical limitations, becoming catalysts for a fuller sensory experience. This multisensory approach not only enriches the audience’s interaction with the artwork but also underscores the theme of displacement – the sounds act as a metaphor for the fragments of home and identity that persist even when the physical structures are no longer present or have been transformed. 48 Overall, the incorporation of sound in Chasing the Echoes of Home is a strategic choice that enhances the artworks impact by engaging with the concepts of memory and presence. It allows the sculptures to maintain a dynamic interaction with the audience, despite their static state, and emphasizes the fluidity of memory and the continuous process of remembering and forgetting. As I continue to explore the intersections of art, domesticity, and memory, I am guided by a commitment to fostering a dialogue surrounding our shared humanity through the lens of the everyday, enhanced by the nuanced use of sound and movement to evoke deeper emotional and intellectual responses. 4.3 Installation Magic The magic of installation work lies in its ability to transform a space, enveloping the viewer in a narrative that transcends the individual components and creates a cohesive, immersive experience. In my exhibition “What is fragile?”, I feature three major works, I sought to weave together a narrative that would transport viewers into another realm, allowing them to contemplate the concepts more fully and engage with the art on a deeper level. The first piece, Toppling Furniture (Figure 11), is a manipulated construction of a kitchen table and chairs. 49 Figure 11. Chasing the Echoes of Home (installation detail), Kelowna Art Gallery, 2024 50 This work creates a visual illusion of suspended animation, as if frozen in the midst of a fall, yet seamlessly merges with the gallery walls. The integration of these domestic objects into the gallery space challenges viewers’ perceptions of stability and balance, evoking a sense of unease and curiosity. This piece invited contemplation on the fragility of domestic life and the moments of disruption that can alter our sense of security and permanence. Adding to this domestic feel, I lined the wall of the Toppling Furniture piece with floral wallpaper, further integrating the idea of comfort in a domestic setting while juxtaposing it with the uncanny nature of the installation. The second piece, Chasing the Echoes of Home, employs sound and static mechanical sculptures to evoke memories and a sense of place. The auditory elements triggered by the proximity of viewers serve as a haunting reminder of the past movements of the sculptures, creating an atmosphere that blends memory and presence. This piece underscores the theme of displacement and the persistent echoes of home and identity that linger even when the physical structures no longer exist. The third piece, And I thought that if I kept building…I’d find it (Figure 12), serves as both a conclusion to the narrative and as a bridge between the artistic process and the formal exhibition space. This staged tableau comprises an antique desk, a chair, woodworking tools, and the components of a mechanical house sculpture in progress. By blurring the lines between the artist’s studio and the gallery, this installation invites viewers into the creative realm where ideas take shape and narratives unfold. I lined the walls of this installation with the same floral wallpaper used in Toppling Furniture, bookending the viewers’ experience with the three works and reinforcing the domestic, homey feel while contrasting with the installations uncanny nature. This wallpaper acted as both an opening and a closing to the narrative journey within the gallery space. 51 Figure 12. And I thought that if I kept building...I'd find it, Kelowna Art Gallery, 2024 52 This integration of immersive art experiences with authentic glimpses into the artistic process aligns with contemporary theories advocating for greater transparency and engagement in the presentation of artwork. By revealing the stages of creation and the tools of the trade, I aim to demystify the artistic process and invite viewers to engage more intimately with the work. This approach not only enhances the viewers’ understanding and appreciation of the art but also fosters a sense of participation and inclusion. Through this strategic arrangement of objects and environments, I created an immersive space where the boundaries between art and life, gallery and studio, seemingly dissolve. The viewers are encouraged to move through the space, discovering the connections between the pieces and reflecting on their own experiences of home, memory, and identity. This dissolution of boundaries leaves room for contemplation and discovery, allowing the art to resonate on multiple levels and inviting viewers to become a part of the narrative themselves. 53 Conclusion Throughout this thesis support paper, I have embarked on an in-depth exploration of how themes of displacement, memory, and identity intersect with my artistic practice. My journey has been marked by a persistent quest to understand and articulate the complexities of belonging, both personally and within the broader sociocultural context. This investigation has not only deepened my understanding of these themes but has also significantly shaped the development and execution of my sculptural work. In the introduction, I posed fundamental questions about belonging and identity, framing my inquiry within the context of personal experience and broader societal patterns. These questions set the stage for a deeper investigation into the multifaceted nature of place and identity. Part One of this paper established the theoretical foundation of my work. Chapter 1 examined the impact of labour and mobility, focusing on the experiences of military relocations, labour mobility in Newfoundland, and the resulting gender inequalities in the home. Understanding these dynamics provided critical insights into the sociocultural factors that influence my artistic themes. Chapter 2 expanded on these ideas by exploring the intersection of place and identity. The discussions on the effects of colonization on Canadian housing practices and the relationship between socioeconomic standing and housing location underscored the complexities of belonging in a constantly shifting landscape. These themes resonate deeply in my work, where I seek to capture the transient and often precarious nature of home. Part Two focused on the methodologies that drive my artistic practice. Chapter 3 discussed my material choices, emphasizing the significance of using found objects with evidence of age and wear. These materials, each carrying their own lived histories, serve as 54 conduits for narrative and emotional resonance. The incorporation of domestic objects and the importance of the artist’s collection were highlighted as key elements that bridge the personal and the universal in my work. Chapter 4 delved into the dynamic aspects of my sculptures, particularly the integration of movement and sound. My journey into mechanics, inspired by historical automata and contemporary kinetic sculptures, enabled me to create pieces that engage viewers through multisensory experiences. The use of sound in Chasing the Echoes of Home was particularly significant, as it added an auditory dimension that evoked memories and deepened the connection between the viewer and the artwork. The final section, Installation Magic, explored the transformative potential of installation work, where the strategic arrangement of objects and environments created immersive spaces that encouraged contemplation and discovery. As I conclude this thesis support paper, I am struck by the realization that the search for belonging is both deeply personal and universally shared. My artistic practice has allowed me to navigate this complex terrain, offering a means of expression and connection that transcends individual experience. Through the integration of historical, theoretical, and personal insights, I have sought to create a body of work that resonates with a wide audience, fostering empathy and understanding. Moving forward, I remain committed to exploring the intersections of art, domesticity, identity, and memory. The insights gained through this research will continue to inform my practice, guiding me as I delve deeper into the themes that have shaped my artistic journey. By continually questioning and reimagining the concepts of home and belonging, I hope to create works that not only reflect my own experiences but also invite others to contemplate their place in this world. 55 This thesis support paper marks a significant milestone in my artistic development, providing a comprehensive framework for understanding and articulating the complex interplay of displacement, memory, and identity in my work. As I continue to evolve as an artist, I am excited to explore new avenues of inquiry and expression, building upon the foundation laid through this research and contributing to the ongoing dialogue within contemporary art. 56 Bibliography Anderson, Charlene, and Carolyn Stark. "Psychosocial Problems of Job Relocation: Preventive Roles in Industry." Social Work, vol. 33, no. 1, 1988, pp. 38-42. ProQuest, https://www.proquest.com/scholarly-journals/psychosocial-problems-job-relocation- preventive/docview/215271560/se-2. Anaya, James. Report of the Special Rapporteur on the Rights of Indigenous Peoples, Addendum: The Situation of Indigenous Peoples in Canada. United Nations Human Rights Council, 4 July 2014, A/HRC/27/52/Add.2. Bachelard, Gaston. The Poetics of Space. Penguin Classics, 2014. Blazwick, Iwona, and Cornelia Parker. Cornelia Parker. Thames & Hudson, 2013. Broeckmann, Andreas. Machine Art in the Twentieth Century. 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Thesis/Dissertation
eng
Visual Arts
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Craig, Briar, 1961-
Chasing the echoes of home
Text
Still Image