Biela Noc 3rd edition in Bratislava (Slovakia)

“3 different Mandalas are part of Blue Decline installation. Deriving from the Sanskrit word for ‘circle,’ a mandala is an artistic representation of the cosmos, and is used in Eastern religious traditions as a focus for meditation. Using the now-ubiquitous plastic water bottle, Landry's mandalas conjure shadow versions of this spiritual symbol. Each of Landry's mandalas is created from only one kind of bottle, and bears the name of the brand of water it once held, i.e., Mandala Labrador. In Mandala Naya, a laundry basket ringed with water bottles is attached to the wall. A tripod, supporting a light attached to a mechanized arm, stands in front of the basket. As the arm moves forward, the light shines through the holes of the basket and through the water bottles, creating a startlingly beautiful shadow that stretches across the wall. This is the reward for watching Mandala Naya for its entire one-minute cycle; just as with traditional mandalas, the time required to experience the work makes it an object of contemplation.”

Flying School and Mandala Naya (excerpt), brochure, Rice Gallery, 2005.
Created during a residency at Cypres, Marseille, in exchange with La Chambre Blanche, Quebec City.

Aeryon is an installation that recreates the beauty of an aerial landscape view through an advanced navigation visual system which analyses data sources. It is an artistic interpretation of a surveillance drone vision in which the story line evolves according to the drone’s departure location.

The piece’s story line evolves gradually to create an environment in which various degrees of immersion modify the perception of the physical space it unfolds in. The multimedia environment invites the audience to live a contemplative experience in which the visual composition changes according to the virtual drone location, thus providing an ever-changing experience.

The installation is an “open form” that is unique and inimitable. It behaves as a system with a random creation process, in a range of settings defined by the activity of the real-time data analysis. Surround sound translates the images into a sonic experience that will plunge the public into the heart of this electronic landscape. All patterns such a mountains, oceans, forests or cities have a specific visual features. Other information such as the size of the cities, the number of inhabitants, wind force or weather forecasts are some parameters that determine the visual composition.

A production of ENCAC.

The kinetic installation Wave Interference unfolds in the shape of a light wave. 88 neon lights appear to float to the sounds of an old organ. The wave fluctuates slowly, in a fluid movement, and it captivates through optical illusion effects. It invites one to undergo an experience of amplified sensorial dimensions in a mysterious atmosphere. It takes us into a suspended time, towards a meditative and fascinating state.

It not only has the power to transform our relationship to the site where it is presented, it also reveals unsuspected states both in our perceptual experience and on the level of the phenomena in our midst. Wave Interference refers to electromagnetic waves and their ubiquity.

Moody explains that we are typically oblivious to these waves until we have some detector (such as our eyes) to alert us to their presence. That we have the ability, through the use of these organic detectors on our faces, to effortlessly filter a portion of this mess of frequencies into a coherent image is a fact worthy of awe. The waves from every radio station, mobile phone call, wifi signal (and countless others) are around us whether we are detecting them or not.

Funding credits to: The Alberta Foundation for the Arts, The Canada Council for the Arts. 

Construction credits to: Rachael Chaisson, Ann Thrale, Rita McKeough, Tristan Zastrow.