found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel
each of two drawings 183x122cm; table base 173x111x71cm; other dimensions variable 
installation as part of Lever s & Counterweights at SFU School for the Contemporary Arts, 2026

photo: Rachel Topham Photography

This installation results from performing the gestures of making and shaping bread, drawing both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel
each of two drawings 183x122cm; table base 173x111x71cm; other dimensions variable 
installation as part of Lever s & Counterweights at SFU School for the Contemporary Arts, 2026

photo: Rachel Topham Photography

This installation results from performing the gestures of making and shaping bread, drawing both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

found steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

ound steel table base, plywood, mason jars, flour adulterated with chalk, pulverized roses with soft pastel

photo: Rachel Topham Photography

Private performance to develop the installation, bread for all and roses too (2026), during which I performed gestures of making and shaping bread. The result drawing installation takes both material and title from the phrase used in early twentieth century labour and suffrage movements.

drawn on site at the Audain Gallery at SFU’s School for the Contemporary Arts , 2026
powdered charcoal on wall
approximately 1890 running cm

photo: Michael Love

drawn on site at the Audain Gallery at SFU’s School for the Contemporary Arts , 2026
powdered charcoal on wall
approximately 1890 running cm

photo: Michael Love

drawn on site at the Audain Gallery at SFU’s School for the Contemporary Arts , 2026
powdered charcoal on wall
approximately 1890 running cm

photo: Michael Love

drawn on site at the Audain Gallery at SFU’s School for the Contemporary Arts , 2026
powdered charcoal on wall
approximately 1890 running cm

photo: Michael Love

At once a score and its performance, this work is prompted by texts by Zola and Dumas, the sensuality and violence of culinary markets and processes, and avian-like sounds of dogged desire. Performed as part of Not Sent Letters & Guests on 17 November 2018, at Dynamo Arts Association

photo: Alisha Weng

At once a score and its performance, this work is prompted by texts by Zola and Dumas, the sensuality and violence of culinary markets and processes, and avian-like sounds of dogged desire. Performed as part of Not Sent Letters & Guests on 17 November 2018, at Dynamo Arts Association

photo: Alisha Weng

Drawn onsite to the sound of a desirous dog that had witnessed my en faisant performance. Performed as part of Antigonight , 2017 (Antigonish, NS).

photo: Helen Jones

Drawn onsite to the sound of a desirous dog that had witnessed my en faisant performance. Performed as part of Antigonight , 2017 (Antigonish, NS).

photo: Helen Jones

Drawn onsite to the sound of a desirous dog that had witnessed my en faisant performance. Performed as part of Antigonight , 2017 (Antigonish, NS).

Drawn onsite to the sound of a desirous dog that had witnessed my en faisant performance. Performed as part of Antigonight , 2017 (Antigonish, NS).

Drawn onsite to the sound of a desirous dog that had witnessed my en faisant performance. Performed as part of Antigonight , 2017 (Antigonish, NS).

graphite, willow charcoal, and eraser on wall
drawn on site at Studio 21 (Halifax, NS)
244 cm diameter

photo: Studio 21

In Caylus, France in the winter of 2013, I plucked a pheasant without instruction, documenting the awkwardness with which I enacted this (historically) common culinary process. En faisant as a project aims to merge the process (the doing—faisant) with the subject (the pheasant—faisan). It was the first in an ongoing project wherein the performance of a specific process initiates my drawing gesture. Performed in the garden of DRAWInternational with a pheasant provided by Aux Delices de Caylus (Caylus, France).

photo: DRAW International

charcoal, graphite, and eraser on wall
drawn onsite at Queen Street Studios (Belfast, Northern Ireland)
11 running metres

charcoal, graphite, and eraser on wall
drawn onsite at Queen Street Studios (Belfast, Northern Ireland)
11 running metres

charcoal, pencil, and eraser on mylar
91 x 61 cm

Image: Steve Farmer