wool felt, plexiglas, metal, paper, styrofoam, electronics
Through sculpture, computer-generated video, and digital prints, PAN/PAN probes the connections between exploration, wilderness, and technology in a contemporary context. Drawing on the visual vocabularies of landscape painting and NASA live-streams, PAN/PAN presents a series of relics from a distant future. Strange apparatuses invade physical reality and are simultaneously scattered through 3D rendered virtual landscapes. Hovering between motion and stillness, virtual scenes are devoid of human presence, yet biomorphic apparatuses function as technological stand-ins for embodied experience. Their unexpected presence in the landscape in turn calls into question the colonial notions of wilderness and masculinity so deeply embedded in early 20th century landscape painting.
PAN/PAN weaves together real and fictional material to trouble narratives of nationhood. A felted globe is punctuated by a small oculus, offering an aerial view of the virtual environment, featuring Canada's most famous robotic and technological achievement: the Canadarm. Meanwhile, in a playful reversal of typical artistic process, virtual objects are in turn documented for posterity through a fictional archive, which corroborate these technologies’ status as material culture of the future. By conflating categories of artificial/natural and virtual/actual, PAN/PAN generates a playful yet uncanny vision of our technologized future.