Catherine Richards, Method and Apparatus for Finding Love, 2000.
Work in progress in collaboration with Martin Snelgrove. Reception desk, receptionist, non-disclosure agreement forms, four wall-mounted stainless-steel shelves, four copies of the patent application. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of patent application on shelf.
Photo: Tim Wickens. Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Brass, copper, glass, electronics, electron guns, computer, Terrella, luminescent gases, lights, variable dimension. Commissioned by the National Gallery of Canada.
Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. General view of installation with wrapped shroud/chrysalis.
Photo: Tim Wickens. Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. Partial view of wrapped shroud/chrysalis.
Photo: Lawrence Cook. Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Virtual Body, 1993.
Courtesy of the artist
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. Detail view of spectator being unwrapped by attendants.
Photo: Tim Wickens. Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain in tube (pulsating).
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Mitch Lenet.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy (2000). Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. View of attendants wrapping spectator.
Photo: Lawrence Cook. Courtesy of the artist.
Catherine Richards, Spectral Bodies (1991). Courtesy of the artist.