Christine Davis

The Power Plant

For more than a decade, Christine Davis’s installations have combined artifacts of the body (contact lenses, a metal dress patterned on genetic encoding sequences), photographs of skies (clouds, solar eclipses), and images of books (English dictionaries, Copernicus’s Cosmology) to consider constructions of the self. Taking shape at the intersection of science, pain, and beauty, her work betrays the influence of Deleuze (on time), Bataille (on Sade), and Kristeva (on love); it’s no surprise to learn that Davis’s early training was in Paris. This might explain why her installations have always been markedly different from those of other English-Canadian photo-based artists, with the possible exception of Michael Snow.

Pluck, 2000, is Davis’s first foray into time-based work The artist is concerned here with duration and what Henri Bergson identified as “flux,” the aspect of perceptual experience

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