oakville-canada

Michelle Gay

Oakville Galleries

“Interfaces and Operating Systems,” the title of this exhibition—a survey of recent work by Michelle Gay, elegantly arranged by curator Marnie Fleming—may at first seem a reference to the digital technology present in most of the pieces. But such a coldly literal interpretation actually misses the point. The subject of a work like timer (swat), 2004, for example, is not computers, per se, but how we modern subjects interface with the world—the cultural systems by means of which we operate. A surprisingly intimate piece, the work features a collage-like digitally animated image of the artist displayed on a desktop monitor hung on the wall. Her elongated legs move back and forth like the pendulum of a grandfather clock. While swaying, she repeatedly reaches upward to swat from her body, as if they were pesky insects, live digital readouts of the time, which then float away and fade into

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