Caitlind r.c. Brown & Wayne Garrett present The Deep Dark


Caitlind r.c. Brown & Wayne Garrett are artists and collaborators working with diverse mediums and materials, ranging from artificial light to re‐appropriated architectural debris. Their practice combines divergent aesthetic and industrial backgrounds, often resulting in transformative public sculptures and installations. Beckoning viewers with interactive contexts and novel materials, their projects invite strangers to share in experiential moments, sometimes prompting unwitting collaborations. Mass‐produced objects are frequently used to reference cities as an immeasurable mass of materials, people, and situations, evoking the possibility of renewed understanding through a critical shift in perspective. Previous works have appeared at festivals, galleries, and museums internationally, including: Garage Center for Contemporary Culture (Moscow, Russia), Pera Museum (Istanbul, Turkey), Whanki Museum (Seoul, South Korea), Illingworth Kerr Gallery (Calgary, Canada), I Light Marina Bay (Singapore), GLOW Forum of Light + Architecture (Eindhoven, Netherlands), and elsewhere.

When working independently, Wayne is a musician and composer; Caitlind is a co‐founder and co‐curator of WRECK CITY.


The Deep Dark is the first in a series of site‐specific light installations intended to illuminate the interspaces between our sacred (and natural) environments and cultural constructs of darkness. Drawing from interviews with artists from Saskatoon and Banff, the project asks: why do we fear the dark? Is darkness a presence or an absence? What separates real fear from imaginary fear? By unearthing commonalities between interviewed participants, a loose narrative emerges, illuminating a collective insight into the nature of our human relationship with the deep dark.

Meditative, iconic, and evocative, The Deep Dark invites each viewer to participate in a 600 ft solo night hike through Victoria Park, alone in communion with the woods, voices in the foliage, and their own thoughts. Utilizing domestic imagery (doorways) as a literal entry point, the installation imposes artificial light into the natural darkness – light by which the darkness grows darker and disillusions the night.

Many Thanks to all interview participants, The Banff Centre, Nuit Blanche Saskatoon, Heather & Ivan Morison, our peers, and our families. The Deep Dark was initially developed for the forest surrounding The Banff Centre in the Rocky Mountains, and has been adapted to the specific landscape of Victoria Park.

Luke Ryalls Presents Strata


Born and raised in Saskatoon, Luke Ryalls has spent a great deal of time reflecting on what it means to be from this place. A songwriter and archaeologist, he recently expanded his work to a new medium, completing a Masters of Architecture at Dalhousie University in 2014, where his thesis work focused on creating architecture that was specific to the Saskatchewan prairie. This is his first public installation in Saskatoon, and he looks forward to an ongoing dialogue with his home city and province. Luke currently works as an Intern Architect at Concept Plus Architecture and Engineering.


STRATA virtually excavates and illuminates a space beneath the urban fabric of Riversdale. This excavation is intended to suggest reflection upon the neighbourhood’s complex and unique history. The virtual excavation has been created in the form of a tunnel to reflect the highly dynamic nature of the neighbourhood - the sense of passage from one condition toward something new and still ambiguous.  Hopefully the installation inspires the public to consider what Riversdale has been, what it is today, and what they would like it to become.

Ponteix and Colby Richardson present Circuits


BIO - Ponteix
With cascading stereo delays and sub-frequency howls the project known formerly as the Mario Lepage Project has begun to take shape under the expansive skies of Canada. Gaining notoriety through some heavy weight Francophone competitions “Festival International de Granby” the project has already begun to build its home in both anglophone & francophone communities with content thats able to traverse the language barrier by delivering the message & emotion through their sound. Canadian magazine, Ominocity chimed in on some of their recent performances, "A live performance with the band is a psychedelic journey from eardrum to eardrum, leaving no cranium unaffected in the audience"- Andrew MJ Cooper, Ominocity -. With Anxious rhythms & tidal wave endings The newly baptized project: Ponteix, has just begun to take on the grand nature of the skies they write under.

BIO - Colby Richardson
Colby Richardson is a graphic designer, filmmaker, and analog video artist based in Regina, Saskatchewan. His fascination lies in exploring the interaction between historic video technologies and equipment originally manufactured for broadcast production and avid home video fanatics. Colby uses these machines outside of their intended use by "improperly" linking them together to create dynamic, distorted images and textures. Colby uses these machines outside the boundaries of their intended use, "improperly" linking them together to create dynamic and distorted images and textures. Colby has performed live analog visuals for bands and noisemakers including The Avulsions, Catholic Girls, Wizard Boots, We Were Lovers, The Florals, and The Radiation Flowers. You can see a feed of Colby's video creations on Instagram @glitterplaza, and on his website

Psych Electro/Pop group Ponteix (formerly Mario Lepage) and analog video artist Colby Richardson are joining forces to give an audiovisual performance/installation at Underground Café. Creating feedback images casted onto themselves into old video circuitry, combined with the ambient soundscapes and anxious rhythms of Ponteix, the collaboration brings a colourful psychedelic sequence of sounds and images pulsating through five old televisions circling around the men of many moves: Mario Lepage, Adam Logan, Kyle Grimsrud-Manz and Enver Hampton.

Kevin McKenzie presents Night of the Shaman


A Cree/Métis, born and raised in Regina, Saskatchewan, Kevin is a descendent of the O'Soup family from the Cowessess First Nation of Saskatchewan.

He was enrolled in private art lessons as a child and excelled in traditional water colour techniques. Wilf Perreault was Kevin's high school art teacher. Perreault nurtured and encouraged his pupils to express their artistic aspirations. During his formal training at the University of Regina, Art McKay was Kevin's most influential instructor.

In 2003 he received a Canada Council for the Arts production grant to produce a series of buffalo skulls cast in polyurethane resin. The cast resin skulls were painted utilizing flashy hot rod hues, racing stripes and flames. This body of work received international attention and was part of a group exhibition in New York City at the Museum of Arts and Design.

Kevin has participated in two residencies at the Banff Centre for the Arts, the Indian Art Centre in Ottawa and currently the Department of Visual Arts at the University of Regina. His work is represented in many collections including; the MacKenzie Art Gallery's permanent collection; and, the National Indian Art collection at Indian and Northern Affairs Canada.

McKenzie is also represented at the National Gallery of Canada's permanent collection, the Manitoba Hydro Corporation's permanent collection and in 2014 the Saskatchewan Arts Board acquired his work for their permanent collection.  Kevin currently is living and working in Regina, Saskatchewan, where his multi disciplined art practice is constantly evolving.


In his experimental performance piece entitled Night of the Shaman, Kevin McKenzie introduces festival goers to Shaman culture. McKenzie utilizes sound (a traditional drum beat) and projected visual material of highly stylized chieftain or Shaman images. 

After attracting a crowd of interested festival folks, McKenzie begins to paste silk screened images of the Shaman onto a brick wall. All three elements combine to offer the viewer a ritualistic outdoor gallery experience.

William Lee Presents Electric Honeycomb


William Lee was born and raised in Saskatoon, and is currently a 3rd year fine arts student at the University of Saskatchewan. He focuses in sculpture and photography, and is constantly experimenting and pushing his work to evolve. He has worked with a variety of materials, including wood, plexiglass, clay, steel, concrete and found object.  William enjoys working intuitively, and he embraces failures, errors and last-minute arrangements.



Six large, wooden hexagonal tubes of varying lengths, stacked in a double, irregular layer on the ground. They resemble the cells of a honeycomb, but with openings covered by aluminum screen, and framed by lengths of polished aluminum edging. Unlike a honeycomb, the ends protrude at each side to different degrees, and the inside of each unit is brightly lit with a circular LED double-light loop. These lights and their visible hardware and mounting systems transform the clean, furniture quality of the smooth plywood veneer into something less familiar or functional

Laura Hale Presents Sojourn


Laura Hale is a multidisciplinary artist who works with a variety of artmaking materials in response to theme, place and what is found there. Her work is often site-specific, inspired by her current environment and in the public realm. She is interested in creating work in shared spaces, accessible to everyone. Hale has a strong collaborative artmaking practice having done several community-based artist residencies. She creates objects, spaces and experiences that respond to and celebrate place and engage the viewer with their surroundings encouraging interaction, dialogue and contemplation.

Laura has shown her work locally, nationally and internationally. She is part of the Saskatchewan Arts Board Permanent Collection and is represented by Mata Gallery in Regina, SK. She is a full time artist currently based out of Saskatoon, SK.


Sojourn, a temporary stay.

Sojourn is a site-specific installation, it will only ever happen here and now in this location. It is a created environment using tumbleweeds to alter public space creating a sense of wonder and mystery, and an invitation for exploration. Sojourn rejects the symbolic image of a lone tumbleweed representing abandoned, desolate, empty places by creating a gathering place for many, celebrating community, sharing the beauty of nature and by encouraging appreciation of the temporary.

GHOST HOUSE PRESENTS The Secret Garden (deconstructed)


Lindsey Rewuski, also known as Ghost House, is a graphic designer, artist, and maker of ‘visuals’—or live visual expressions of music. Her artistic output is created with a (joyfully messy) hands-on approach, using colored oils, water soluble dyes, glass, organic material, overhead projectors, video, clay, photography, bones, flowers, and other found objects. She enjoys playing with memories, mystery, and the concept of duality.


The Secret Garden (Deconstructed) is a stop motion animation of flowers, spinning slowly; coming apart and then becoming whole again. A flower mandala is created by carefully deconstructing a flower, petal by petal, and arranging these petals on a flat black rotating surface. This labour intensive process requires a delicate touch in order to not bruise the petals, and must be done quickly, before they wilt. It’s a meditative procedure that brings to mind the mantra, “He loves me, she loves me not” with each petal plucked.

Deconstructing a flower often reveals some petals and pistils that aren’t perfect. These odd-shaped stamins, crooked stems, and lopsided leaves are intentionally kept in the finished work, and indeed, give each mandala a specific personality. Without these natural imperfections, the mandalas would feel artificially beautiful.

The Secret Garden (Deconstructed), features both hot-house and Saskatchewan grown flowers.  
"But there are still flowers, and these are not to be dismissed.” —Margaret Atwood, The Handmaid’s Tale

Production resources provided by PAVED Arts

Ian Campbell presents Cinema Tintamarresque


Ian Campbell is a filmmaker and new media artist whose work is deeply rooted in a desire to reveal the organic personal tension present in the technology of contemporary life. He has a varied practice that includes digital filmmaking, live improvised visuals, installation art, and kinetic sculpture. He’s a graduate of studio art programs at the University of Victoria (BFA 2002) and Concordia (MFA 2006). His work has been exhibited in galleries across Canada including the Winnipeg Art Gallery, The Parisian Laundry, The Mendel Art Gallery, CCA Glasgow and others. His films have screened at festivals like WNDX, Antimatter, Prairie Scene and others. He is currently working in the Film Department of the University of Regina. Ian is originally from Vancouver Island, BC.


Cinema Tintamarresque is a new take on an old idea; these simple billboards have been popular fairground and seaside attractions for years.  This inherently interactive billboard has been updated for the digital age. Pass by the installation and participate by following the directions on the screen. 

Have fun, take a selfie, and tag it #cintin15.

Ryan and Eric Hill present WHERE ARE YOU? THERE YOU ARE!


Brothers Ryan and Eric Hill have worked together on various projects over the years. Most notably, they have been the longstanding hosts of All Day Breakfast on 91.3 FMCJTR Community Radio in Regina for over 10 years running. They share many common interests in creating music, video, art, and technology but each brother has their unique approach. Together, they are combining their skills to creative work which can be affected by the audience's interaction and presence.


WHERE ARE YOU? THERE YOU ARE! is a new collaborative work by the brothers Hill, originally created for Regina's Pop Up Downtown. This work creates an optical illusion of motion and action for the viewer; where and how one views the piece affects what they see. By shifting, tilting, moving closer and further away the viewer in effect plays peek-a-boo with the installation.

Jay White in collaboration with Finding City presentS Coyote Walk


Jay White is an artist of Mi’kmaq and European descent whose practice often involves storytelling and walking as a form of collaborative knowledge-sharing. Much of his recent work illuminates animals and places in urban environments that have become marginalized and ignored in order to consider the ways that human activity affects others. He places a high priority on honouring the perspectives of other beings.

Jay is a founding member of the The Urban Animal Agency (UAA), a collective of artists and ecologists based in Vancouver, BC. This summer, the UAA has partnered with Stanley Park Ecological Society and the Vancouver Parks Board to work from a temporary headquarters in the downtown core. From this base of operations, the UAA is giving summer art-and-ecology courses to youth and bringing people together to create maps and objects that are contributing to a collaborative installation and celebration at the end of the summer.


Finding City Community Arts Inc. is a public art organization that builds relationships between artists and the larger Saskatoon community through collaborative projects focused on the idea of city and the experience of contemporary urban living.

Void Gallery supports Saskatchewan’s emerging artists and offers affordable, accessible art. They help young artists develop their professional practices and expand their exhibition history while partnering with local businesses as off-site galleries to increase the space and possibilities for art in Saskatoon.


Coyote Walk is a series of walks where Jay camps and hides in a city for three days, inviting people to track and attempt to photograph him. The project invites others to enter, or at least consider, unseen spaces in their city and the beings that live there. By asking that participants respect the artist’s privacy while also attempting to photograph him, participants are confronted with the idea that their presence might infringe on other animals’ privacy and behaviors. Participants’ photographs and experiences become a central aspect of the final work.

Both times the walk was performed in Vancouver, the project ended prematurely because it became difficult to find places to hide and sleep in the day that weren’t already occupied by other animals, including coyotes.

In Vancouver, the project has resulted in a longterm partnership between Jay and Dan Straker, the head of the Co-existing With Coyotes program in the city. Jay and Dan have spoken in numerous venues together and have founded a collective of artists and ecologists who are interested in presenting cities as a more-than-human habitat.



The aim is to upset the natural behavior of the spectator, which is being called attention to by the antics of Indigi/Clown.  Acts of stoicism and survivalist comedy will be identified as native humor. The Indigi/Clown will walk into the scenes in a backwards manner: saying ‘Goodbye’ instead of ‘Hello’, or ‘It is not nice to meet you’. At the end, there will be a spoken word performance that will identify all the said traits. The Indigi/Clown character will be clothed in garments that could be associated with Native American cultures, such as the Heyoka or the Pueblo Clown.  The production also includes sidewalk chalk drawings, co-creating the space for the performance.

Alexa Hainsworth presents The Critic


Alexa Hainsworth has Masters of Fine Arts from the University of Saskatchewan and is an artist living in Saskatoon. She produces objects and installation environments made from mixed media and textile sewn together by hand and machine. Alexa reveals new ways to manipulate and stretch materials that offer surprises.

Her works have animated qualities that give the sensation that they are living creatures. The installations are reminiscent of underwater landscapes both real and imagined.  Rather than copy nature directly, Alexa’s fabric sculptures are fanciful, yet like biological elements of plant and animal they are evolutionary. 



The Critic is alluring; it conjures both euphoria as well as unease. It causes the viewer to engage with the installation in both a psychological and a physical way. Alexa’s aim in Critic is to have the audience be within the work as well as within the statement of the piece. The Critic challenges the paradigm of art viewer / consumer / evaluator.

The Critic encourages people to feel as well as touch Hainsworth’s art. After struggling to be ‘born’ within the hoods, seated and unable to move easily, one is more able to experience feeling the art in addition to observing the sculpture

Daniel Griffin Hunt Presents Portal



Daniel Griffin Hunt is an interdisciplinary artist currently working out of Ontario. His practice functions within a sculptural dialogue, nestled between performance and video art, consisting of actions that result in the production of objects. Calculated interactions with culture and the things present within it attempt to articulate a form, a dialogue, or finesse a pre-existing discourse encompassing -and engaging with- the social fabrics of material culture. Hunts practice is suspended between the demand to give matter a distinct form and shape and the need to disclose the form of matter itself – to create objects with a pronounced material intelligence. He is interested in the materials, form, and process of the everyday.



Stretch wrap will be used to create an enclosure within an intersection.  The material properties of the stretch wrap obstruct the external environment – such as wind and light – as well as distort the viewer’s vision. The absorptive behaviour that one often takes for granted in the act of entering a space will be questioned by the re-formatting of this space. The intersection will be packaged and reconfigured.


Patricia Shiplett presents Break On Through

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Born and raised in Saskatchewan, Patricia Shiplett left the province at the age of 18 embarking on a twelve year engagement of self discovery. Upon returning to Saskatoon she enrolled in the College of Commerce receiving an honours degree in Finance and held several positions with Province of Saskatchewan in economic development and then financial planning with The Bank of Nova Scotia and Great West Life.

In 1992 she had the opportunity of a lifetime to live in London, England and it was here that she renewed her interest in the arts through daily lectures by world renown historians at The Tate Gallery, The Courtauld Museum and The National Art Gallery. It was the Turner prize that was the impetus for her returning to university to study and complete four years of sculpture and extended media while maintaining a viable commercial art practice. Her present pursuit of knowledge extends to frequent trips to New York, Europe and extensive personal research in the areas of existentialism and the environment along with numerous technical courses and related university classes.

Patricia Shiplett has exhibited in numerous public and private exhibitions in the three western provinces and her work is held in private collections in Canada and Europe and the collection of the Saskatchewan Government.


Break On Through is a mixed media installation that is enriched by Patricia’s personal experience and discovery that arise during various states of consciousness. Through fictional and experiential narratives, a journey of personal discovery unfolds and is presented through the medium of video, sound and sculpture. Ethereal, otherworldly optical visions, dreams and sound transport the viewer on a journey into a world of absurdity, to that place that lies on the other side of silence. Eight thousands shards of ice spikes enhanced by light create a dichotomy of calm yet trepidation.

This work formed part of a recent solo exhibition at The Gordon Snelgrove Gallery titled Break On Through To The Other Side. The soundscape was created and produced by sound artist Alex Stooshinoff.

Tod Emel presents Micro(sound)house


I completed my BFA at the University of Saskatchewan in 2005 with a focus on drawing and painting. My current practice is focussed primarily on the intersection of lo-fi noise and experimental audio. I’ve produced and performed more musically inclined works as the solo projects XOD and IAWAI. From 2008-11, I served as the Director of AKA Gallery in Saskatoon where I initiated the Sounds Like audio art festival. I’ve continued my involvement with Sounds Like, co-curating a program in 2013, sitting on the jury for the 2014 program, and working on the programming committee for 2015. For the past two years, I’ve been on the board of PAVED Arts, where I’m currently serving as board chair.  


For Micro(sound)house, Tod Emel constructed a tiny, really tiny, house – barely large enough for him to sit in – surrounded by sound making equipment. During the performance, Emel will remain in the finely finished micro house, creating extended improvisational compositions that will be broadcast from an amplifier housed in a detached ‘garage’. Starting from audio cassette field recordings and scavenged media sources, Tod employs a methodology of aleatory action, re-sampling, looping and processing snippets of sound to create a lo-fi patchwork audio collage. Through this process he aims to create something meaningful from the mundane, to assemble fragile vignettes from auditory detritus that would otherwise go unnoticed

free Flow Dance Theatre Presents Witch Hunt


Free Flow Dance Theatre is a leading edge Canadian Dance Company known for its innovative and risk-taking modern choreography. Founded and directed by choreographer Jackie Latendresse the company is currently celebrating it's 20 year anniversary in 2015. Free Flow is a charitable not for profit contemporary dance company. They host numerous events annually including the Works in Progress New Dance Series, Back Alley Antics Tour, a Free Community Dance Workshop program, International Dance Day Celebration and fall concert. More information can be found at: 

PROJECT DESCRIPTION: Witch Hunt – 2007 – Running time: 16 minutes - Choreographer Jackie Latendresse

- Performed by Kelly Van Damme, Kyle Syverson, Karla Kloeble as a part of the 2015 Retrospective Remount Program celelbrating 20 years of Free Flow Dance Theatre

Witch Hunt is a psychologically dark, riveting work which delves into unacknowledged, deeply hidden parts of human personalities. Explorations of the eternal silent scream, vicious inner critic and the line between sanity and insanity are combined to create an original and authentic movement vocabulary that creeps up on you and knocks you flat. 

Thank you to the Saskatchewan Arts Board.

J.J. Neufeld presents Found Pixels


J.J. Neufeld has been working with Dr.Isocellator's Illumin-o-tronic Environment Enhancement Services (a broadly-based artistic collective)  for many years.  J.J. specializes in using custom programmed microprocessor controlled LEDs and lasers; strategically placed and operated; to make the world more supernatural and glowy.  He is continually fascinated by exploring how changing the nature of the light in an environment changes the way things in that environment is perceived.  J.J. (and Dr.Isocellator's) technology is most often used to perform innovative and psychedelic small-scale light shows supporting local artistic endeavours as well as local bands & musicians.


The Streamline Moderne architecture of the Adilman Building (1912) features sections of glass bricks that can be re-imagined as a primitive pixel grid. Firing a laser at a glass brick illuminates an individual brick – as the mortar does not pass light – creating square pixels out of a medium (bricks and glass) that was designed and constructed decades before the concept of pixels existed. If this century-old building can be used as a pixel display, where else might we find unintended pixels in our urban environment, and how could we use them to convey messages or emotions?

This installation is powered by batteries charged with solar power, and features RGB scanning lasers running customized patterns on the surface of one of Saskatoon's unique character buildings via ILDA (25-pin parallel) control signals.  

Karlie King presents Without Looking


Karlie King completed a Bachelor of Arts degree at the University of Regina, Saskatchewan (2003), a Master of Arts degree (2006), and two years of a Doctoral degree at Memorial University in St. John's, Newfoundland and Labrador.

From May to October 2013/14, King served as a Cultural Animateur as part of SaskCulture's Culture Days celebration. She has received a variety of grants and awards, including a Social Sciences and Humanities Research Grant (2008-2010) and Saskatchewan Arts Board Indigenous Pathways Initiative Grant (2010, 2013, 2015). Her work has been featured in numerous solo and group exhibitions including, most recently: Walking with Our Sisters, First Nations University of Canada, Regina (SK) (2013-14); and Around Home, Campbell River Art Gallery, (BC) (2013); and An Education, Estevan Art Gallery, Estevan (SK) (2014), and PEST, Haida Gwaii Gallery/Museum (BC). Last year, she was the Artist-in-Residence at Cypress Hills Interprovincial Park (SK) as well as the Canadian Western Agribition (SK). She is Co-Owner of Flux Fine Art Studio and dedicated Mother of two.


King’s performance highlights the intangible culture of knitting, and the interstitial space that is involved in mastering a craft tradition to the degree that it can be carried out without looking. Karlie King will be knitting in the dark.  However, she’ll knit with phosphorescent needles and yarn so that the audience will see ‘just’ the act of knitting. What won’t be seen – as it never is – is the transfer of knowledge that occurs for cultural traditions to exist. What won’t be seen – as it never is – is the time and practice that go into mastering a tradition such that it can be executed ‘without looking’. The embodied interstitial space required for such intangible cultural heritage will remain elusive and represented by the unilluminated atmosphere

The Gluey Group Presents Wunderblume


The Gluey Group, founded by Ned Bartlett and John Campbell, is a collective of artists and programmers working to fuse their disciplines in electrifyingways, questioning and flexing the boundary of art and science. They find inspiration in the collaboration of art and science; as new technologies develop, it is exciting to imagine and realize how they can inspire artworks and cross-disciplinary collaborations. Bartlett is an artist and educator. Campbell is an industry-experienced programmer.


The Wunderblume is an evening spectacle of light and kinetic movement encouraging audience participation to playfully activate the giant flower sculpture. The Wunderblume is a large interactive sculpture that blurs the line between viewer and participant. The public is encouraged to explore how The Wunderblume is responding to them as they engage with it alone or in groups in playful, exploratory, and collaborative ways. Working from its namesake the Wunderblume is known as “the four o’clock flower” as it blooms in the late afternoon/evening. As its Germanic root implies: the flower is a marvel and wonderment.

Thanks to our supporting institutions: The Saskatchewan Arts Board, The Elizabeth Greenshields Foundation, and the University of Regina.


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Stephanie Norris, Dallas Kruszelnicki, Emily Carr & Anastasia Gheysse Present Control of the Senses (Indriya-pratyahara)


A live collaborative piece featuring Kirtan musicians and videographer from Hot Yoga on 20th. Kirtan is music based on ancient forms of repetition and chanting (mantra), forming one of the tenets of traditional yoga practice. Improvised and energetic, the performers will be visible via a projection, whilst performing live high above Nuit Blanche. Their performance will be amplified on the rooftops, disseminating the music along the air currents to be picked up by listeners depending on the wind direction and street noise. The performers are in one physical place, but the vibrations they create will be carried all over Nuit Blanche, changing and shifting with the environmental conditions

jeremy tsang presents inbetween


Jeremy Tsang (NSCAD University, 2011) is a visual interdisciplinary artist currently practices out of Toronto, CA. He has exhibited across Canada, including a survey of alternative landscapes (Lost Horizons, 2012) at St. Mary’s University Art Gallery (SMAUG). In 2014, Nocturne Halifax (akin to Nuit Blanche) produced one of Tsang’s diasporic installations. He was featured recently in the 30 Under 30 curated by art critic Gary Michael Dault at John B. Aird Gallery (Toronto, CA), the Exposure Photography Award exhibition presented at the Louvre (Paris, FR) and a photography-based growing collaborative Incubator Series exhibition at Latitude 53 (Edmonton, CA) over the summer months. Forthcoming 2015, Tsang has been commissioned by Nocturne to construct a major large-scale installation and is featured in the upcoming issue of Concrete Flux Zine (Beijing, CN). Tsang’s work of photographs, videos, text, object-making, reinterpretation of found ephemera, and installations are included in the public collections of Sobey Art Foundation and SMUAG and as well many private collections around the world.


INBETWEEN seeks to break down the cyclical relationship of those who watch and those who are watched. In today’s information age the ideas of surveillance, voyeurism and exhibitionism are ubiquitous, whether it is through the virtual internet or the reality. The lines and the interstitial spaces separating these roles are ever grey, and through this installation the transformative nature of these ‘roles’ will be constructed and then deconstructed – ad infinitum.

Millissa Greenwood and Ashley Berrns present Element

Photo Credit:  Chelsea Klette Photography

Photo Credit: Chelsea Klette Photography

Dance Ink leaves streaks across the earth while Moments in Motion inscribes the sky with acroyoga. Visuals are set aflame with makeup by Vamp, costuming by Alchemy, and tech by Production Lighting. And underneath it all, beats by The Gaff build steadily to a downpour. Come soar on the arc of the elements with this primal, visceral, one-of-a kind collaboration.

Choreographed by Millissa Greenwood and Ashley Berrns in collaboration with performers

Performed by Moments in Motion and Dance Ink

Make up by Vamp Makeup

Music by The Gaff

Lighting by Production Lighting

Corinna Wollf Presents Third Space Carnival

Corinna Wollf is a visual artist and writer inspired by the disciplines of human movement (dance, athleticism and yoga), the natural world, and psychology. Combining drawing, printmaking, collage and painting, Corinna produces modular installations and scrolls meant to immerse one in a visual experience rich in narrative and symbolism. Having lived in many cities across Canada, and currently living transnationally between Italy and Canada, intersections between cultures are prevalent in Corinna’s work, as are references to her Metis and Mennonite heritages and explorations of cultural hybridity.

BlackFlash Magazine and magnetic domain
Present Sound Pollution II


BlackFlash Magazine is dedicated to promoting photo-based and new media art in Canada. With a commitment to producing challenging writing, BlackFlash offers a distinct view on thought-provoking artwork.

Magnetic Domain is a short run cassette label based out of Saskatoon, Saskatchewan, that specializes in textural music.



BlackFlash and Magnetic Domain are presenting the second iteration of the Sound Pollution series. For Nuit Blanche 2014, they selected a series of performers to present drone pieces that were immersive for the outdoor.

As this year’s Nuit Blanche is based on the theme of Interstitial Spaces, their selections will be geared towards the concept of hypnagogic states: the transitional state from wakefulness to sleep. All performers will be presenting textural experimental sound pieces, taking the 2015 theme as a starting point. This year’s performers are VC Vibes, Scant Intone, Will Kaufhold, and Ernie Dulanowsky