© Anna Eyler + Nicolas Lapointe 2021
Based in Montréal, Canada, Anna Eyler holds a BA in Religious Studies and Art History from Carleton University (2010) and a BFA from the University of Ottawa (2015), and an MFA in Sculpture and Ceramics from Concordia University (2017-). Recent awards include the Joseph-Armand Bombardier Canada Graduate Scholarship (2017), the Desjardins Academic Scholarship (2018), and the Emerging Digital Artist Award (2018). Eyler currently holds the position of Coordinator for the Textiles and Materiality Research Cluster at Concordia University (2018-).
As life moves more and more into virtual spaces, I am interested in the ways that digital
technology influences our relationship to the natural world. Through a combination of sculpture
and new media, I explore emerging forms of technological nature; that is, how technology
mediates, augments, or simulates depictions of the natural world. I look to the materiality of
the screen---as both portal and container---in an effort to probe this changing relationship. I
focus on the porous boundary between virtual and actual space, looking to materialize the
digital and dematerialize the physical. Drawing on the visual vocabularies of science fiction,
nature documentaries, and online virtual worlds, my work speaks to the new ways that we
experience nature in a contemporary context, examining the gains and losses therein.
The materiality of the digital is a core dimension of my practice, as I bring forms and materials from the physical world into virtual space and back again. Using 3D modelling software, I simulate and deconstruct objects from the natural world and embed them within virtual environments. Documented through looping videos, digital subjects are animated in unexpected ways that trouble their apparent material identities. At times, their forms are flexible and geometric, and at others, rigid and organic. In certain works, these virtual subjects are embedded in digital biospheres. In others, they are extracted from their “natural habitats” and forced to negotiate the void of digital space.
My recent work is centred on how we imagine and inhabit virtual spaces. I am interested in the ways that the global media industry---from cinema to video games---informs our online interactions, with particular attention to how real life power imbalances leak into virtual space, both in terms of design and use. At the same time, virtual spaces can operate as platforms for playful subversion and pointed resistance. Focusing on multiplayer online worlds and games, I examine virtual spaces as sites of emergence, where participant interactions exceed prescribed game dynamics and relationships. Although our visions of virtuality are deeply conditioned, I consider how online environments can function as spaces for radical imaginings of the future, both in-game and out.
Nicolas Lapointe is a multidisciplinary artist based in Montréal, Québec. He holds a Diploma in Visual Arts from the CÉGEP de l’Outaouais, a BFA from the University of Ottawa and an MFA in Sculpture from Concordia University. Lapointe is the recipient of several awards, including the Dale and Nick Tedeschi Studio Arts Fellowship and the FRQSC Graduate Scholarship.
Through kinetic sculpture and video, my work probes the relationship between digital technology
the mystical-occult. I am interested in looking beyond the utilitarian dimensions of technology
instead acknowledge its role as a complex cultural apparatus that profoundly influences our ways
knowing and being in the world.
Moving at almost imperceptible speeds, my works operate through a process of slow reveal in an effort to trouble the immediacy and efficiency expected of technology. I construct apparatuses to perform quotidian rituals and acts of nature. In a playful reversal of expectations, technology functions not to make simple actions more efficient or economical, but rather, more elusive and enigmatic. By conflating the artificial and the natural, I explore the complex relationship between nature, technology, and spirituality.
I consider cyberspace---in its immateriality, atemporality, and connectivity---as a convergence of the technological/mystical. In my recent work, I seek to create a dialogue between the virtual and the actual. Screens function as windows onto computer-generated environments, conflating the architectures of physical and virtual spaces. At the same time, stark, mechanical structures recall the polish and precision of industrial and scientific production. By appropriating the visual language of science and combining it with esoteric content, I aim to open up a dialogue on mysticism and authenticity in the digital age.
Working in sculpture and new media, Anna Eyler and Nicolas Lapointe maintain independent and collaborative artistic practices. The duo have participated in residencies with Espace Projet (Montréal, 2015), Verticale (Laval, 2018), and the Bòlit: Centre d'Art Contemporani (Catalonia, 2019). Recent two-person exhibitions include beyond différance, and now at Ace Art Inc. (Winnipeg, 2016) and void loop () at the City Hall Art Gallery (Ottawa, 2018). Recent group exhibitions include Le Large at Galérie AVE (Montréal, 2019), the Place Publique festival at the Fonderie Darling (Montréal, 2020) and the Athens Digital Art Festival (Athens, 2020).
h3ll | Anna Eyler + Nicolas Lapointe | 2021 | website | h3ll.ca/
Based on the mythological story of the River Styx, h3ll is an interactive web project featuring a fictional dialogue with the ferryman of souls, Charon. In classical mythology, the river forms the boundary between the earthly and infernal realms; for this work, the Styx acts as a liminal space between the digital and the physical.
At h3ll.ca/, participants are invited to take a journey down the river with Charon as their
guide. Veering away from realism, h3ll hearkens back to 90s video game aesthetics, with
cartoon-esque speech bubbles punctuating an otherwise austere landscape. Inspired by the nine
circles of hell in Dante Alighieri’s Inferno, h3ll’s text is generated using a random dialogue
generator. Speaking the language of the net, Charon peppers his musings with memes, gifs, and
SMS language. Although normally presented as a sullen character throughout history, Charon takes
on a more convivial attitude in his digital state, waxing poetic on digital death and virtual
space with an equal dose of pathos and humour.
+ Visit h3ll
Photo credits: Miles Rufelds
derrick_I, derrick_II, derrick_III | Anna Eyler + Nicolas Lapointe | 2021 | plexiglas, electronics 30 x 30 x 10 cm (each unit)
derrick_I, derrick_II, derrick_III explores our fraught relationship to the earth and its resources.
A now iconic structure in the extraction of petroleum, the oil derrick has played a
key role in the violent history of resource extraction. Rather than serving human needs,
however, this colony of derricks toil in a calculated bid at their own survival. Formed
themselves from the very material they seek to extract, they search for new materials with which
to replicate themselves---a desperate attempt to stave off their own inevitable extinction.
The derrick series features three modules constructed of glass green Plexiglas and animated by small DC motors. Moving rhythmically in an endless loop, these delicate structures inhabit the dark corners of the gallery space, their size and transparency lending them an inconspicuousness. Subtly alerting us to their presence, the low hum of their motors evoke the buzz of insects. Once discovered, however, their decorative etched surfaces allow them to camouflage themselves amongst the artworks, eluding capture. Both uncanny and seductive, the derrick series looks to a dark past (and present) while offering an ambiguous cyborgian future
Read Exhibition Text
Photo credits: Adrian Morillo
D.o.t.T.D (Dance of the Techno-demons) | Anna Eyler + Nicolas Lapointe | 2020 | AR application, site-specific installation, performance
D.o.t.T.D (dance of the techno-demons) exists at the interstices of the natural, technological, and the sacral worlds. From early animistic to modern-day societies, mysticism and technology have been intimately interconnected, yet our ideas of the sacred have shifted alongside our tools. The Western sacred no longer lives in the rocks, trees, and rivers, but has moved to more amorphous terrains. Has the evacuation of these supernatural agencies from the natural world opened it up to technological exploitation and destruction? Or are we bearing witness to the rise of new forces, what sociologist Bronislaw Szerszynski calls techno-demons? When our technologies become ends in themselves, or when they set off unpredictable chains of consequences, they become seemingly autonomous forces, shaping our lives in untold ways. As technology assumes an ever-increasing presence in our lives, how can we form new relationships with our digital kin? In the graduating exhibition of Anna Eyler and Nicolas Lapointe, we are confronted with the creatureliness of technology, while simultaneously asked to question its limitations. D.o.t.T.D (Dance of the Techno-demons) speaks to humanity’s enduring pursuit of a higher power, questioning the ways that technology has been---and continues to be---implicated in this pursuit.
Combining an AR application, website, and performative installation, D.o.t.T.D reflects on
humanity’s need for meaning in the face of technological uncertainty. Bringing together equal
parts nostalgia and humour, this work hyperbolizes the relationship between consumption,
technology, and anxiety. D.o.t.T.D features a mobile food cart which is periodically activated
by the artists over the course of the summer, who prepare and serve augmented reality hot dogs
to participants. Through a custom application accessed via QR code, participants receive a
unique prognostication on their own smartphones or tablets. Each prognostication is the product
of an artificially intelligent hotdog techno-demon, which is accessed through the digital
medium. Ranging from the sincere to the absurd, these “fortunes” are both meditations on
collective anxiety and speculations on our shared future. By inviting participants to in turn
consume their own virtual prophecies, the artists question how we might get closer to the
digital divine, while acknowledging the ephemeral union inherent to all consumption.
D.o.t.T.D. simultaneously occupies the hallucinatory space of the Internet.
Referencing 1990s web aesthetics, D.o.t.T.D hearkens back to utopian visions of the net. Despite the claims of cyber-enthusiasts, however, our online environment has not flourished into a democratic techno-utopia, but rather, it has become a complex material and immaterial site dominated by global market capitalism. Our virtual worlds and digital devices at first appear to satisfy our needs and desires, but ultimately, their algorithmic ends are not our own. But even if the web has failed to deliver on its promise, perhaps there is still room for virtual redemption?cart At www.dottd.net/, participants are invited to consult the digital oracle from anywhere in the world. By uploading an image of a hotdog, participants receive a speculation on their digital future generated by an A.I. entity. Meanwhile, an archive on the site displays every sausage-induced fortune, offering a snapshot of our collective future. In its transmedial nature, D.o.t.T.D operates somewhere between mythology and corporate brand. Gliding from the physical to the virtual and back again, the techno-demons of D.o.t.T.D---at once beyond our understanding but also deeply familiar---ask us to reconsider the faith that we place in technology---both old and new---while offering some level of intimacy with our digital kin.
+ Visit dottd.net
Video performance: 16 July 2020, Fonderie Darling FB LiveRead Zine
La Fable d’OxA 21965 | Anna Eyler + Nicolas Lapointe | 2019 | single-channel video with sound |
16:9 | 6 min 36 seconds
La Fable d’OxA 21965 considers material culture within the context of geological (or deep) time. Evoking at once an architectural frieze and an archaeological timeline, this looping video work surveys a computer-generated virtual landscape comprised of 3D scanned artifacts and architecture from the Girona province.
Featuring sites with a rich, cultural significance---from
the Coves Prehistòriques de Serinyà to the archway of the Cathedral of Saint Mary of
Girona---the video stitches together these 3D models into a palimpsest of human-geological
relations. At the same time, the environment is populated with some of the less romantic
signifiers of our geological legacy: trash. Fossilized water bottles, cell phones, and selfie
sticks pepper the landscape, complicating our relationship to the earth and its resources.
Reflecting on the immense ecological (and geological) pressures of tourism specifically (and
contemporary life, more broadly), La Fable d’OxA 21965 imagines future fossils of the digital
age, and places them on equal footing with the architectural wonders of civilizations past. In
this distant future, the artists themselves masquerade in Hazmat suits, scouring the landscape
in vain for some unknown (or perhaps, unattainable) material.
This work was produced during a two-month residency in Girona, Catalonia, supported by the Bòlit centre d'art contemporani and the Québec-based artist-run centre, La Chambre Blanche.
Thank you to the Conseil des arts et des lettres du Québec and the Canada Council for the Arts for their support.
cité | Nicolas Lapointe | 2019 | aluminium, electronics, papier-mâché, wood | 200 x 200 x 185 cm
Despite society’s advances in science and philosophy, death and the afterlife remain mysterious territories.
As many of the first technologies were developed to assume domination over life
(i.e. spears for hunting), technology has maintained an intimate relationship to questions of
mortality. With the recent developments in computational science and engineering, a new,
symbiotic relationship between death, mysticism, and technology has emerged. In cité, Lapointe
explores how technology functions as a mechanism for dealing with our own mortality in a
Inspired by both Japanese rock gardens and Baroque fountains, Cité features papier-mâchéd boulders set upon stilts and covered with discontinuous, rocky textures. Existing somewhere between ecstasy and anguish, contorted metal studs seem to dance around these rocky pillars, evoking notions of ritual. At the same time, references to building and construction abound, from the rough 2 x 4 beams to the aluminium studs, positioning the viewer as if underground. Tablet-sized screens are pinned to the studs, revealing playful yet grotesque animations of 8-bit flies and maggots moving across slabs of fresh meat, functioning as digital reminders of death (memento mori). Red wires twist and curl across the floor, continuing bodily metaphors.
Vanguard I (The Five-Body Problem) | Anna Eyler + Nicolas Lapointe | 2019 | plexiglas,
aluminium, electronics | 215 x 110 x 110 cm
As our repositories of knowledge become increasingly digital, this media-based sculpture questions the relationship between technology, information, and embodiment. Drawing on the visual vocabularies of science fiction, data centres, and video games, Anna Eyler and Nicolas Lapointe offer multiple windows onto a virtual landscape, questioning what lies behind, below, and beyond the digital frontier.
Vanguard I (The Five-Body Problem) looks back at the techno-utopianism of the 1950s as a way of
examining our own contemporary relationship to technology. As one of the first satellites in the
history of American space exploration, Vanguard I continues to orbit the planet as our oldest
example of space debris. In this work, Vanguard I is revived, multiplied, and mutated into a
fleet of satellite-virus hybrids. These cyborgian entities twitch and glitch across a virtual
terrain, monitored by a Panopticon-like structure of screens. As they glide from screen to
screen, their drone-like movements also offer a reversal of the gaze, questioning our
relationship to surveillance technologies. The screens themselves face the interior of the
tower, and as such, are visible only obliquely through the mediation of the structure.
Evoking at once Modernist architecture and data servers, Vanguard I (The Five-Body Problem) is a tiered, modular structure constructed from transparent Plexiglas and electronics, punctuated by a series of small screens. Fans and circuit boards are mounted to the exterior structure, as cascading wires form connections between the structure’s levels. Vanguard I (The Five-Body Problem) speaks to the unseen systems---the ghosts in the machine---that exist behind our virtual environments. The screens themselves offer an imperfect map of virtual space: one comprised mostly of gaps and absence. By conflating the architectures of physical and virtual spaces, however, the work invites us to consider the invisible structures governing our digital identities. At the same time, the work serves to highlight---and indeed, animate---the digital debris that we ourselves leave behind.
no-fluke/no-feed/no-swim/no-play/no-fun | Anna Eyler + Nicolas Lapointe | 2017 | plexiglas,
Referencing kinetic, department store window displays, no-fluke/no-feed/no-swim/no-play/no-fun employs the materials and techniques of advertising to reflect on the role of technology in contemporary culture. Anna Eyler and Nicolas Lapointe take an ambivalent position on reality, behaving a bit like amateur archaeologists from an imagined future.
In both form and symbolism, no-fluke/no-feed/no-swim/no-play/no-fun draws on Mannerist painter
Jacopo Pontormo’s famous altarpiece, The Deposition from the Cross (1528). Renowned for its
bright colours and flat composition, Pontormo’s painting veered away from naturalistic
representation, instead employing aesthetic strategies to heighten the emotional and religious
content of the scene. Likewise, no-fluke/no-feed/no-swim/no-play/no-fun uses the form, palette,
and two-dimensionality of the altarpiece to evoke ideas of the mystical. Rather than adhering to
a Christian narrative, however, this work instead questions the relationship between
spirituality and technology in a contemporary context.
As the positions of the rocks change from moment to moment--while also varying in speed--they provide a tangible sense of the passage of time. Their movement simultaneously calls forth the shifting of tectonic plates, thereby conflating day-to-day change with a geological sense of time. In so doing, no-fluke/no-feed/no-swim/no-play/no-fun reflects on our impact on the Earth’s geology and ecosystems, offering a poignant yet critical reflection on obsolescence and our material legacy.
PAN/PAN | Anna Eyler | 2018 | single-channel video | 16:9 | 3 minutes 53 seconds
Through computer-generated video, PAN/PAN probes the connections between exploration, wilderness, and technology in a contemporary context. Drawing on the visual vocabularies of landscape painting and NASA live-streams, PAN/PAN presents a series of relics from a distant future. Hovering between motion and stillness, virtual scenes are devoid of human presence, yet biomorphic apparatuses function as technological stand-ins for embodied experience.
Their unexpected presence in the landscape calls into question violent, colonial notions of the
uninhabited wilderness pre-contact and masculinist narratives of discovery so deeply embedded in
early twentieth-century landscape painting. By conflating categories of artificial/natural and
virtual/actual, PAN/PAN generates a playful yet uncanny vision of our technologized future.
As more and more of our experiences become mediated through technology, how do we re-negotiate our embodied subjectivities? Can virtual environments function as sites for the troubling of distinctions between technological, aesthetic, and artificial categories? And how can we develop a critical intimacy with our technologies without reducing them to mere reflections of our own values and beliefs? PAN/PAN speaks to these questions and concerns surrounding contemporary discussions of art and technology.
the scryer | Nicolas Lapointe | 2017 | aluminum, electronics, marble, nylon | 152 x 152 x 30
As daily life becomes increasingly datafied, commodified, and secularized, this kinetic sculpture considers the relationship between technology and spirituality in a contemporary context.
Drawing on the visual language of museological display, the scryer presents a marble
technofossil as it undergoes some form of parascientific analysis. By combining real-time video
with recorded footage, the scryer blurs the boundaries between reality and artifice, raising
important questions surrounding faith, mysticism, and technology in the digital age.
Referencing Internet advertisements for fortune-tellers and clairvoyants, the scryer features a tiny inscription laser-etched across a marble slab. A digital microscope slowly pans over the text, revealing the mysterious incantation on a nearby screen. Combining the text of several Kijiji listings, the text is syncretic to the point of absurdity, drawing attention to the ways that faith and spirituality have operated as commodities, both historically and contemporarily. At the same time, the work also reveals the limits of science and technology to fully resolve our most fundamental questions surrounding life and death.
Within discussions of occultism, scrying refers to a form of divination or fortune-telling. The scryer is “the one who looks”, divining messages and visions from the beyond. In this work, technology functions as a medium. The text itself exists at the limits of legibility, asking the viewer to either accept or refuse the mediated version as true and authentic. Meanwhile, as the microscope pans over the text in reverse, a grainy image of the night sky is presented on the screen, recalling footage of alleged UFOs recorded with hand-held cameras. In many ways, the scryer speaks to humanity’s enduring quest for a higher power, questioning the ways that technology has been---and continues to be---implicated in this pursuit.
Regard des mages | Nicolas Lapointe | 2016 | aluminum, electronics | 152.5 x 30.5 x 30.5 cm |
Documentation by Miles Rufelds
Simultaneously suggestive of drone and satellite, Regard des mages probes the connections between objecthood, materiality, and the digital artefact.
Functioning as both digital circumambulation and three-dimensional map, the work offers what appears to be a window into digital space, bringing the ontology of the digital object to the fore while questioning our relationship to virtual environments. Three tablet-sized screens slowly orbit in space, supported by austere, industrial structures. At once solid and mobile, they appear ready to be posted to new terrains at a moment’s notice. The videos within mimic the motion of the structures, the cameras slowly panning around asteroid-like forms, mapping them in virtual space. In so doing, Regard des mages also speaks to contemporary methods of surveillance, data collection, and cartography. At its core, the work functions not as a window into virtual space, but as some record of an imagined future, as a beacon or transmission from another moment in time.
How to Live Forever (Trimming the Myrtle-bush) | Anna Eyler | 2016 | single-channel video | 16:9
| 6 minutes 26 seconds
How to Live Forever (Trimming the Myrtle-bush) is the second work in a series of machinima vignettes set in the Second Life (SL) virtual environment.
The first work of the series, How to
Explain Love to a Tape Measure (HELTM), features amorphous, geometric forms interacting within
SL spaces while being animated by sexual scripts. HELTM’s subjects are situated within their
“natural habitats,” ranging from desert oases to lush rainforests, whereas this work features
similar, animated, geometric forms “in captivity.” The notion of captivity not only extends the
animal analogy of the series, which strongly evokes the nature documentary, but it also extends
the connections between physical and virtual environments.
Just as HELTM explored the overwhelmingly sexual nature of SL, this work explores the idea of “playing at captivity.” Captivity/prison role-playing is prevalent in SL as well as other multi-user virtual environments. Reflecting this notion of simulated captivity, How to Live Forever (Trimming the Myrtle-bush) features geometric forms animated by scripts ranging from fighting/struggling to repetitive pacing/rotating. At the same time, the work establishes connections between the submission---both to and within---the game environment and voluntary religious captivity (such as monastic cloistering). In “This Is Not a Game: Violent Video Games, Sacred Space, and Ritual,” religious studies scholar Rachel Wagner notes the strong similarities between sacred and secular play, as each function within a temporarily “real” world according to established rules. The “trimming of the myrtle-bush” refers to Robert Browning’s poem “Soliloquy of the Spanish Cloister,” which exposes the tensions of cloistered life by focusing on a Dominican monk’s desire for the flesh over the spirit. As our lives migrate more and more into virtual spaces, How to Live Forever (Trimming the Myrtle-bush) examines critical questions surrounding the nature of belief and the psychology of submission.
How to Explain Love to a Tape Measure | Anna Eyler | 2016 | single-channel video | 16:9 | 8
minutes 28 seconds
Evoking at once the nature documentary and the peep show, How to Explain Love to a Tape Measure (2016) is a series of machinima vignettes featuring amorphous, geometric forms interacting within the Second Life environment.
In “The Gendered Body in Virtual Space: Sexuality,
Performance and Play in Four Second Life Spaces,” Jude Elund observes that even “within
potentially subversive spaces, there is a normativity that persists which reiterates the
ideological foundations of identity that are historically and culturally ascribed to.” By
reconfiguring and repurposing existing Second Life environments, animations, and models, HELTM
subverts expectations of normative identity to open up a broader dialogue surrounding intimacy
and subjecthood within virtual environments.
In HELTM, Eyler assumes the identity of, at times, one, and at others, many, flexible, geometric bodies. While some are highly camouflaged to mimic the surrounding fauna, others are skinned in raw materials, such as plaster, marble, and paper. Having effaced her human avatar, the artist rebuilds her virtual identity by attaching these seemingly autonomous entities to different parts of her form and then animating them with scripts purchased in the Second Life marketplace. Reflecting the abundance of “adult” themed material in Second Life, the animations themselves are primarily sexual in nature, ranging from masturbation to aggressive intercourse. At times, the forms appear to engage in an Absurdist dance, their clumsy exterior forms contrasting with their graceful undulations. In so doing, HELTM probes issues surrounding technologically-mediated intimacy while at the same time functioning as both artifact and love letter to an imagined digital future.
M3R0 M3R6 M3R7 | Nicolas Lapointe | 2015 | resin, electronics | 101.5 x 38 x 38 cm
M3R2, M3R6, M3R7 (2015) is a collection of three resin rocks that quiver and shake at random intervals within a Plexiglas case, and as such, are protected from, or perhaps, protecting, the viewer.
CEP II | Anna Eyler + Nicolas Lapointe | 2014 | concrete, electronics, Plexiglas | 91 x 182 x 15 cm
CEP II (2014) features two diode displays embedded within each concrete slab, rapidly displaying glyph-like symbols as if communicating with each other. A trail of black Plexiglas shards continues the smaller slab's form, suggesting movement, or perhaps, dissolution.
CEP I | Anna Eyler + Nicolas Lapointe | 2014 | concrete, electronics, Plexiglas | 91 x 182
x 15 cm
CEP I (2014) is a mixed-media sculpture combining electronics with cast concrete and fluorescent yellow Plexiglas.
The translucent Plexiglas reflects back the ambient light of the space, causing the edges to glow to create a defined yet visually permeable structure. Two rectangular, concrete columns support the sheet of Plexiglas, which emerges from the rough sides of the concrete, distressed and eroded to reference the passage of time. Rather than suggesting a stable core beneath the concrete layer, however, the work uses the translucency and luminosity of the Plexiglas to echo back the environment of the site. In this sense, the piece suggests a hidden interior, but that interior is ultimately empty. A 4-Digit LED is embedded in the concrete, displaying constantly changing (and seemingly infinite) computations of data, which draw attention to the layers of digital information present in our technologically saturated world. Recessed in the column’s surface, the digits appear to communicate the inner machinations (or thoughts) of the sculpture. This “animation” of the inanimate draws connections between the “minds” of machines and human consciousness.