talking on james street north, episode 4

talking on james street north, episode 4 from Quintin Hewlett on Vimeo.


In November of 2005, I formalised an informal talk amongst artists, writers, activists, and community organizers. Issues discussed included gentrification and economic development, the purpose of a life in and with art, the experiences of running an independent gallery, the politics of community, and the community of politics.

The participants for this episode are Jeremy Freiburger, Matt Jelly, Dane Pederson, Quintin Hewlett, Andrea Carvalho, Matt Teagel, Steve Mazza, and Gary Buttrum.

camera + sound, p + c = qzh 2005

talking on james street north, episode 3

talking on james street north, episode 3 from Quintin Hewlett on Vimeo.


In November of 2005, I formalised an informal talk amongst artists, writers, activists, and community organizers. Issues discussed included gentrification and economic development, the purpose of a life in and with art, the experiences of running an independent gallery, the politics of community, and the community of politics.

The participants for this episode are Jeremy Freiburger, Matt Jelly, Dane Pederson, Quintin Hewlett, Andrea Carvalho, Matt Teagel, Steve Mazza, and Gary Buttrum.

camera + sound, p + c = qzh 2005

talking on james street north, episode 2

talking on james street north, episode 2 from Quintin Hewlett on Vimeo.


In November of 2005, I formalised an informal talk amongst artists, writers, activists, and community organizers. Issues discussed included gentrification and economic development, the purpose of a life in and with art, the experiences of running an independent gallery, the politics of community, and the community of politics.

The participants for this episode are Jeremy Freiburger, Matt Jelly, Dane Pederson, Quintin Hewlett, Andrea Carvalho, Matt Teagel, Steve Mazza, and Gary Buttrum.

camera + sound, p + c = qzh 2005

talking on james street north, episode 1

talking on james street north, episode 1 from Quintin Hewlett on Vimeo.


In November of 2005, I formalised an informal talk amongst artists, writers, activists, and community organizers. Issues discussed included gentrification and economic development, the purpose of a life in and with art, the experiences of running an independent gallery, the politics of community, and the community of politics.

The participants for this episode are Jeremy Freiburger, Matt Jelly, Dane Pederson, Quintin Hewlett, Andrea Carvalho, Matt Teagel, Steve Mazza, and Gary Buttrum.

camera + sound, p + c = qzh 2005

New Harbours Music Series 2008 "Trailer"

New Harbours Music Series Trailer from Quintin Hewlett on Vimeo.


A summation of the musical performances featured at the Spring 2008 New Harbours Music Series.

Performers include Orphx, Polmo Polpo, Michael Snow + Matthew Boughner, Slither.

handheld camera, ambient sound + lighting


P + C = Orphx, Polmo Polpo, Michael Snow, Matthew Boughner, Slither, qzh, Throwaway Digital (2008)

A nicer version of this video is available from Vimeo.

Fat Tuesday Masquerade

Nudes by Melanie Gillis and Ward Shipman
Mask Art by Laura Hollick, Ryan Price, Michelle Purchase
and countless local mask-making newbies
Fire Spinning by Hot Carl


You can find information about this facet of this month's James North Art Crawl by clicking here.

Slither @ New Harbours Music Series 1.3

Slither plays Christ's Church Cathedral as part of New Harbours Music Series 1.3, June 13, 2008

handheld camera, ambient sound + lighting

P + C = Slither, qzh, Throwaway Digital, 2008

Sois jeune et tais toi (photographs)

Digital Maggies, 2008


Hunter and hunted, 2008 (Graeme Weir)


I am Error, 2008


A Winner Is You, 2008


Demolition Special, 2008 (Graeme Weir)

New Harbours Music Series 1.3 -- Slither + Fossils

New Harbours Music Series 1.3
Slither + Fossils
June 13, 9:00 PM
Christ’s Church Cathedral
262 James street North
Free Admission


The noisier and more experimental end of jazz has always been a troubling beast to many listeners. Throughout the history of the genre, musicians have been simultaneously playing within traditional structures and emphatically breaking past them in search of new musical horizons. Free jazz attained a popular zenith in the late sixties with reed players such as John Coltrane and Ornette Coleman, and the genre was able to proliferate commercially despite the demands which it placed on listeners. Over the next two decades however, jazz was concretized in the public imagination as a genre of rigid formalism associated with easy-listening radio stations. Experimental jazz quickly relegated itself to the Japanese, European, and North American underground, where it remained a fertile though somewhat marginalised scene.

Michigan duo Slither are among the newer generation of musicians who work within the amorphously-conceived genre of free jazz (which is at this point more appropriately termed “free improvisation”). Clarinetist Heath Moerland and saxophonist Chris Pottinger have been performing torrid live shows for the past few years. Described as “Today’s jazz for today’s playboys” by Thurston Moore, Slither perform a combination of reeds and electronics that serves well to reinvigorate free improvisation fans and other aesthetes of the nearly-impossible. The cacophony which they create certainly falls within the noise camp, and a great deal of spectral beauty can be discerned as the horn instruments wash themselves of the sonic detritus. Indeed, the last time Slither performed in Hamilton, an amplified dish rack proved itself a worthy addition to the performance.



Local noise practitioners Fossils will also be performing at New Harbours. A trio centred upon the weekly improvisation sessions at band member David Payne’s downtown apartment, Fossils have been internationally championed as being among Canada’s elite experimental acts. Tape manipulation, no-input mixer feedback, prepared guitars, and an arsenal of electronics conjure a dissonant and distopic aesthetic of tortured landscapes and strained human relations. Much as the DJ scene of the 1990s revived interest in the vinyl culture of the previous generation of music listeners, the tape culture represented by Fossils signals to children of the 80s and 90s that their long-forgotten cassettes can still find a use despite the wear of neglect, magnetic drift, and oxidation.

Slither and Fossils play the final concert in the spring 2008 New Harbours Music Series at Christ’s Church Cathedral this Friday at 9 PM.

Sois jeune et tais toi

featuring DJs Gary Buttrum and Carla Coma,
as well as mixes from special guests

dance and silent auction
Loose Canon Gallery
Friday June 6
9pm

pay what you can
$5 suggested

all money from door, beer, and auction will
be donated for cancer research at Princess
Margaret Hospital

Michael Snow + Matthew Boughner @ New Harbours

Snow + Boughner in an improvised performance inside Christ's Church Cathedral on May 11, 2008. This concert was second in the New Harbours Music Series.

handheld camera, ambient sound + lighting

P + C = Michael Snow, Matthew Boughner, qzh, Throwaway Digital (2008)

30 / 30 -- Thirty Years of Hamilton Artists Inc

This video was initially six metres wide by two and a half metres tall, and had separately-edited intertitles. The audio was initially presented in a three-channel discreet mono format with stereo music accompaniment.

Without prejudice toward the previous fifty, I am fond of the last twelve minutes of the video.

Now 30 / 30 can be watched in a crappy online version, taken from a DVD source that I made a year and a half ago. The text remains readable on lower-resolution monitors, but is a bit small for 1680 or 1920. Frankly, some sacrifices need to be made to ensure a large distribution with a minimal cost. Perhaps I will format this for a 60 by 90 pixel cellphone to make the film eminently portable and completely unwatchable. Then I would surely feel as though the video had "made it".

Notes from the DVD:

30 / 30
a video by Quintin Hewlett, done in 2006

30 / 30 is an impressionistic celebration of art as it is practised in the city of Hamilton, Ontario. The impetus for this video project was to document the 30th anniversary of Hamilton Artists Inc., which is one of the oldest and most influential artist-run centres in Canada.

Diverging memories, artist feuds, technical issues – the loss of the audio masters to the digital ether, a continuously degrading camera – and reluctant or reclusive participants served to obscure an easy description of the Inc.

A polyphonous dialogue emerged from the ruined attempt at linear narrative. It was decided that any representation of the Inc. would not be authentic if it did not attempt to contain the various agreements, innuendos, discord, observations, myths, and political positioning between the members of the Inc.’s democracy.

An interview between two artists of the Inc.’s “second generation” in the 1990s is the structural locus for 30 / 30. This interview was itself structured upon the board game Trouble, which was chosen to serve as an aesthetic distillation of the interview process as well as a gag intended for Inc. insiders, for whom the two players represent the “troubling” of the Inc. The filmmaker chose to himself participate by the rules of the game being played, typically in the form of camera movement and thematic juxtaposition between events in the game and images juxtaposed in the other video field.

The video ends with two gestures of disruption, one material and the other symbolic. Alternately, they are optimistic and pessimistic toward the future success of Hamilton Artists Inc. The filmmaker intended this ambivalence to avoid the principle difficulty inherent to any “career retrospective”, namely that the summation of past glories suggests a decidedly inglorious future.

The video here presented was initially formatted for a large-screen and wide-stereo-image presentation at the Hamilton Artist Inc. gallery for December 2005 and May 2006. Fonts and graphics were resized for better display on conventional televisions, and the audio has been reduced from one stereo background music source and three discreet mono interview sources to one stereo image. Headphone monitoring is highly recommended.

new harbours music series 1 - Polmo Polpo / Orphx

now with myspace goodness:

www.myspace.com/newharbours

NEW HARBOURS ANNOUNCES SPRING CONCERTS IN HAMILTON, MICHAEL SNOW AMONG PERFORMERS

The New Harbours Music Series Demonstrates Significant Cultural Influence For The Newly Revitalized City Of Hamilton

HAMILTON, ON – Music fans in Hamilton have long been organizing events for contemporary music. Musical performances in warehouses, stores, basements, and vacant buildings have been significant happenings for those in contact with the musical underground. Now, a series of spring concerts will bring experimental music to the industrial city of Hamilton, Ontario in a more official capacity.

The New Harbours Music Series intends to showcase regional, national, and international artists and performers who engage in experimental musical practises. Presented by the Hamilton Artists Inc. and coordinated by a volunteer committee of local music fans and musicians, the series is dedicated to supporting a wide variety of experimental music.

The concerts will be part of the monthly James Street Art Crawls, and will feature performances from the internationally-renowned multi-disciplinary artist Michael Snow (Officer of the Order of Canada and a recipient of the first Governor General’s Award in Visual and Media Arts), Polmo Polpo, and Slither, with local artists Orphx, Fossils, and Matthew Boughner.

“With the participation of Michael Snow, who ranks among the most significant and well-known artists in Canada, the New Harbours Music Series intends to bring attention to Hamilton’s art community,” says Quintin Hewlett, who is a member of the New Harbours organizing committee. “The James North art district is a jewel largely hidden to residents of Hamilton, who frequently look to Toronto for their culture. That city, great as it is, serves as a black hole sucking in everything from the surrounding cities. Meanwhile, I know people who have come to Hamilton from Europe and the southern U.S. to see shows here that they would not be able to see otherwise. People need to be made aware of what is occurring in their neighbourhood. Local artists like Orphx and Matthew Boughner have an international following. With New Harbours, we intend for Hamilton to experience its own event horizon.”

This series will occur April 11, May 9, and June 13, 2008 inside Christ's Church cathedral, which is located at 252 James Street North. In addition to the wonderful acoustic properties of the building, the cathedral was chosen as the inaugural venue for the music series as it is one of the most significant architectural and historical landmarks in Hamilton.

Furthermore, the downtown location of the cathedral allows this music series to be included in the James North Art Crawl, which is a monthly event currently gathering a national reputation for the increasingly influential output of the community which it fosters. The continued development of the art community in the James Street North gallery district is a prime indication of the rising economic and cultural influence of the revitalized city of Hamilton.

Culture needs to metastasize. we're already planning series for the fall of 2008, as well as spring 2009. New Harbours Music Series will continue to be an integral part of the cultural output of Southern Ontario.

April 11: Polmo Polpo + Orphx
www.cstrecords.com/bands_polmopolpo.html
www.myspace.com/orphx

May 9: Michael Snow + Matthew Boughner
www.actuellecd.com/bio.e/snow_mi.html
http://www.myspace.com/brownbirdcanread

June 13: Slither + Fossils
http://www.tastysoil.com/
www.myspace.com/fossilstrio

###

If you would like more information about New Harbours Music Series or the James Street North gallery district, please contact Ian Jarvis (ian@hamiltonartistsinc.on.ca) or Quintin Hewlett (quintin.hewlett@gmail.com)

fuck it. photographs.

sometimes words are fickle poneys lost in wide fields, with almost two months of frantic pursuit providing little but nostalgia and inclination. in such times, my forehead is likely to be bruised red by frustration and anxiety about a degree of impotence realized through worry. with small trickles of blood clouding my vision, it can be dificult to view the world properly. i stop trusting my capacity for judgement (or more appropriately, the legitimacy of my capacity for judgment), and i consequently allow technological mediation.

this last statement is only true if we consider language (words) to be an ancient technology. if such is the case, then i might need to rediscover fire in order to progress beyond painting on cave walls. oh well...

fuck it. photographs.


Nora Hutchinson, 2005


Water Only, 2006


Indeterminacy, 2004


lonely_fixed, 2005


inside is outside, 2005


under the weight of judgement, 2004


in case there's extra, 2006


untitled but female, 2005


untitled, 2004


butterfly wings can change the Earth's
climate, 2004


butterfly wings can change the Earth's climate (easily understood remix), 2004

[note: click image for larger resolution version]

Fossils + Boughner @ Loose Cannon

Wednesday, March 28 was supposed to be one of the landmark nights for the Hamilton noise scene. Local acts were to be joined by genre stalwarts Prurient and Burning Star Core. Thanks to the whims of the border agencies which kept the headliners from entering Canada (obscenity laws!!!), only the local acts were able to perform. Despite the logistical chaos of a wholly improvised show, the evening's performance proved solid enough. Fossils (David Payne, Scott Johnson, and Jeremy Buchan) & Matthew Boughner were able to invoke a variety of harsh soundscapes throughout their short but inspired set.





Sadly, my attempt to preserve an aural record of the evening was foiled by the incapacity of my $2 microphone to not be overdriven simply by the volume of the performance. The MP3 file below requires explanation, as the recording process did indeed alter the sound. First off, I was using a Creative Zen, which records and compresses data to MP3 in real time. To dampen the sound and keep the crappy vocal mic from distorting, I placed the recorder inside a cloth bag, which I then covered with my jacket and some random pieces of clothing that I found on the floor. Furthermore, I used my arm to cover this whole mound of crap for the duration of the recording. Despite my hand and at least five centimetres of cloth in the way, the volume level produced during the performance was enough to overdrive my microphone to the point of distortion. Since I was actually at the show, this new "filter" on the sound is an interesting addition to what was heard that night, and serves as a nice reminder of the aesthetic divergence of performance and the process of archiving. For those of you who were not there, consider this audio file to be tangental to the live performance, and in no way indicative of how the musicians wanted themselves to be heard.

You have been warned / invited to listen.

MP3: - Fossils, live @ Loose Cannon (compressed and contained through a voice recorder direct to MP3)

when the robots start to sing...

Upon encountering the aural landscape of Michael Waterman's Robochorus installation, one cannot help but consider the ontology of human creativity. Must all aesthetic experiences spring directly from the artist to be regarded and savoured as a means to discern the contents of their soul? More precisely, can the expressions of an artist be authentic when voiced by a third party? If one is to have faith in transubstantiation by means of pencil, musical instrument, or paint brush, surely there is space in the religious cannon to include machines, robots, and electronic devices.



Waterman's history as a purveyor of bricolage and recontextualization greatly informs his latest installation. The eight individual Robochorus "singers" are homebrew anthropomorphic robots manufactured from the consumer audio detritus of several decades. These sentinels are located throughout the gallery space and sit mute without viewer interaction. When their internal motion sensors are triggered, the figures self-illuminate and begin to emit one of eight harmonic pitches in response to external stimuli. It is with these sounds that Waterman's interest in collage is most evident. Each of the eight tones is comprised of numerous audio sources, including radio broadcasts and environmental audio, which combine into a single, polyvalent drone. As the eight robots are voiced in the harmonic series, when all of them are triggered they can be heard to sing in conversation with each other. Taken together, the robots form the latest in retro home entertainment made public.



Part of Waterman's intention is to demonstrate the influence of commerce on our appreciation of art. The artist seems to want to bring the latent ambiguities of modern electronics and consumption to the fore. By triggering the robots and making them come to life, the audience gains a degree of control over the electronics that Waterman has put into play. Normally, we walk through the valley of technology with blinders; the vast majority of the population has little or no operational understanding of the devices that are consumed. This lack of understanding when merged with late capitalism's mantra of planned obsolescence has resulted in our present-day throw-away economy, which interpellates us as contingent psychotics disregarding the apocalyptic damage we are doing to our biosphere while simultaneously feeding off our nostalgic instincts for the purity of our collective past. We live and breathe garbage on a habitual basis. With Robochorus, Waterman has restructured our forgotten machines from their original functions to a more primitive and abstract level to allow a greater degree of understanding and sympathy.

What was once the latest in high-fidelity audio equipment has here become recontextualized into the latest in post-human technologies. Our machines play on, long after they have become obsolete and forgotten (by extension - does art outlive our critical interest?). By situating the listener as principle agent within a continually changing aural geography, Waterman's robomorphic singers demonstrate the very human characteristic of wanting to be loved (or more precisely, wondering why their love is no longer being returned when once it was so freely given). Individually, their voices are polyphonic yet highly articulated. When heard en masse, the effect is of an unarticulated yet aurally rich cluster of voices, situating the listener as chief conductor.



Several critical responses quickly elicit themselves. Am I supposed to understand what these robots are telling me? Do they themselves understand, or are their utterances the robot equivalent of a nervous tick? While the installation might suggest movement and progression akin to a narrative, when examined in more detail the piece becomes much more abstract and schizophrenic as the individual sound sources become supra-liminal. In some circles this aesthetic is named microsound: audio, when listened to under the microscope as it were, reveals increasing amounts of information. It is the impossibility to properly locate sounds that gives Robochorus its semantic resilience. Robochorus wishes to engage at both the macroscopic and the microscopic level, and yet this very process of "straining to hear" brings the listener back full-circle, (sitting "alone") in a darkened room, illuminated by the robotic extensions of humanity. The point, dear listener, is yourself, listening.

Michael Waterman's Robochorus runs from May 5 until July 9 at the Hamilton Artists Inc.

Photophobia 7

Film has traditionally been a tough sell in the city. Until the opening of The Movie Palace on Concession last year, the only venues for rep and avant-garde cinema in the city had been the AGH film series and a few screenings at the (now highly missed) Staircase Café. Adding insult to injury, the major theatre chains in the area have tended to avoid Canadian and foreign films, and even refused to exhibit many of the more interesting higher-profile films coming from America. Cinephiles in Hamilton have been relegated to other theatres in other towns, usually springing for Guelph or Toronto for their fix.

Out of this cinematic void sprung the idea for an outdoor screening festival highlighting short-length work by regional film producers, as well as challenging short work from the rest of the country and elsewhere. With the help of the Art Gallery of Hamilton, Hamilton Artists Inc., and the Hamilton and Region Arts Council, Chris and Paul Shannon launched Photophobia in 1999. Over the years, Photophobia has grown in both audience numbers and national and international visibility.

This year’s outing is a three day event beginning with an August 8 screening of the fascinating documentary In the Realms of the Unreal at The Movie Palace. This richly textured film examines the phantasmagoric work of legendary outsider artist Henry Darger, a reclusive janitor who over the course of his life produced a fantasy world in painting and text that rivals the works of Blake or Bosch for its hallucinatory shamanism.

The short film and video screenings will be done August 11 at Photophobia’s traditional location, the newly-renovated Irving Zucker Sculpture Garden at the Art Gallery of Hamilton. Both the open-air concept and the open-admission (pay what you can) policy should appeal to both die hard Photophobes and casual passers-by equally. Fifteen films were selected among 270 submissions from around the world. Open-air venues for cinema tend to encourage a more relaxed and social atmosphere than the darkly incubating confines of the indoor theatre. As a further and somewhat unconscious endeavour, events like Photophobia serve to demystify the downtown core, which has traditionally been seen as a dangerous and drug-filled place at night. Community events and art-driven activity are among the most reliable factors which could dispel that fear and bring Hamilton residents back to the core from their suburban somnambulism.

This year’s musical element has been expanded to encompass its own night on August 12 at Hamilton Artists Inc. Beginning with a screening of video work at 7 pm, local musicians including Battleship Ethel and Cadillac Bill will then integrate their audio explorations with film and video work presented by a number of south-western Ontario artists who work in collaboration with The Factory, Hamilton’s most prominent video and film collective.

Claire Meldrum, artistic co-ordinator at The Factory and member of the selection committee for this year’s festival, talked about how many of this year’s selections concern themselves with the degree to which humanity has interpollinated itself with technology. “Many of the films express a feeling of disconnection felt by individuals living with the challenges of an increasingly technological society. Some of the artists embrace technology, and others deconstruct or critique, say, the environmental or identity issues that come with living with technology.”

Arguably, film and video work signify the interdependence of humans with technology better than most media forms. Not only is the cinematic process highly dependent on technological developments, which frequently dictate not only aesthetic concerns but thematic ones as well, but the process of consuming media is dependent on the technologies of presentation. Ironically, “people can be more comfortable with new media,” Meldrum admits. “New media is an inherently social phenomenon, and watching is almost “easy”, so you can get away with tougher subjects” than you can in painting or sculpture. “I think the public thinks that it’s about time for new venues for this kind of thing in the city. Media arts are quickly reaching a critical mass in this city. There’s more awareness, more festivals and screenings. And I think that Hamilton has a highly educated and interested audience community which is key to the success of things like [Photophobia].”

Ian Jarvis, one of the Factory’s directors as well as a member of the Photophobia selection committee, agrees, adding that film festivals such as this meet the social needs of local residents. “With Photophobia, we’ve focusing on a diverse selection of films, representing different classes, races, orientations, and ages. All of the films are struggling to come to terms with the alienating aspects of technology. Film and video kind of bridges that gap, using high-tech to get people to meet again” to watch the films.

With declining box-office sales, it seems that the avant-garde community is not alone in trying to get people out of the comfort of their home theatres. “I think more and more people are getting bored with the blockbusters,” Jarvis quips. Fewer and fewer filmgoers are finding satisfaction with the traditional theatrical experience, preferring the couch-and-fridge convenience of home viewing. As well, the formulaic nature of such commercial films tends to downplay any sense of authenticity or connection that an audience may feel toward the film or its subjects. Instead, many commercial films attempt to blind the viewer’s senses and discourage active interpretation with an overpowering sense of awe: big explosions, big melodrama, big dialog. Photophobia is an attempt to encourage a different model for community within film audiences. “We’re trying to shop at home, looking at regional artists and local cultural stuff. And that gives you a personal touch that I feel lacking in most commercial films. I mean, it’s always nicer when someone bakes you cookies than when they bring home a fast-food meal.”

Let the technology of the home-baked Photophobic goods seduce you, beginning at dusk in the open-air of downtown Hamilton.

Clint Wilson - Chromaplay (Logos)

Technology has instilled its own grandiose morphology upon our conscience that, in a sense, acts akin to a parallel evolution. Without a model to follow, we have for several decades both consciously and blindly embarked upon a project of biological manipulation. The interpellation of biology as a technocratic subject is the fundamental truth that will mark our time in history.



Taxonomy is a mark of distinction. That which is subject to speciation finds itself excised from its rational function and underlined and emphasized as scientific discourse. This hyper-attenuation of the biological subject is a means of both discovery and aesthetic transcendence. By fixing the organism as a demoralized subject (re-presented to truth as a mirror), we have accessed a power to the genetic which will in many ways enhance and betray our survival. Jun 24 1992 marks like a wound, much more so than the forestry and biotech company logos which adorn the butterflies themselves. The flight of scientific inquiry will indeed carry us forward to a new sense of reality and justice.





Business ostensibly follows the scientific model. Markets are rationally apportioned both supply and demand to ensure stability. At the same time, a continual disregard for the data which is imprinted on civilization by the business process is proving highly detrimental to both natural systems as well as the market’s bottom line.





Entropy is accelerated, and an increasing number of mutations and aberrations are normalized through exclusion or integration. In many places are signifiers to the only concept which will deviate from absolution: the imprint of human technological progress.



Butterflies have a unique host process to the logo. As a symbol for the incision of purity, they signal a sense of reasoned change made obsolete by market pathology. They sit as both flag and flier, an aesthetic of form in motion. Both the logo and the butterfly share a common and false representation as static entities, one in death the other in life.





The technological has continued the process of biological integration with a guiding human hand. Choices are made, usually in line with the evolutionary principle of market forces. In light of the relatively arbitrary nature of the evolutionary process, we can not adequately assume ourselves, as represented by corporate and market ideology, within the guise of First Principles. However, since we must continue to enjoy the fruits of our technocratic solutions, may we seek our redemption by invoking the priestly nature of our technological dependence and allowing it to sing? After all, as is commonly known by musicians, entropy can have positive effects on our collective psychology when guided by a sense of morality and aesthetics.

some things i stole from Artopia tonight, and from your bandwidth right now

These are pictures, naturally. In order to conserve bandwidth for those of you who don't yet have broadband -- are any of you still around? -- I've decided to force you to follow the link. It's not really that scary a procedure, unless you really think about it.








Graeme Weir, Untitled






Denis Fafard, Untitled


Brent P , "Leaves"


Judi Burgess, Dawn 1994



Steve Mazza, Untitled


Darren Abbott, Intrusion