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Not only does god play dice... but he sometimes throws them where they can't be seen - Stephen Hawking THE MACHINE IN THE GARDEN is an interactive videodisc installation dealing with gambling and spirituality, twin distillates of our

BICYCLE TV is a rider controlled real-time video tour of a scenic landscape in the Canadian countryside. This interactive installation consists of a 1950's style bicycle with a colour monitor (mounted in front of the bicycle facing the

This interactive installation addresses mass media and manipulation in postmodern culture. In this mediawork individualism and narcissism are revealed as inextricably linked to new electronic technologies and capitalist consumerism. The interface

DAS IST MEINE NEUE FREUNDIN This installation explores one example of the cyberfeminist protagonist: Lara Croft in the computer game 'Tomb Raider.' This mediawork is comprised of several elements: German poster advertising for the game,

Interactive installation showing the motion of a swarm of agents over a 2D or 3D lattice. The project is focussed on the connections dynamically created by the agents with their neighbours in a game of attraction, separation, alignment, obstacle

The spatial musical instrument is constructed of old mobile phones donated by people and a MIDI keyboard. Listen the recording of the performance in Estonian Concert Hall. The musician plays the keyboard and the phones ring composing a concert of

This interactive video installation is a collaboration between myself and Camille Turner. This mediawork is an exploration of the sex, beauty and racial myths which are encountered by a young black Canadian woman and the various conflicting message

Interactive installation with a digital mirror (videocamera + retro-projected screen mirror-shaped) reflecting the face of the visitor standing in front of the mirror. The image is focussed when the visitor stand up to observe the mirror and

6. Nested Swallow. 1997 Paper Size: 42” by 30” Brush and pen plotted drawing

Gallery view from outside. The artist's first robotic brush strokes were achieved in 1987. The strokes achieve spontaneous qualities using coded procedures. The software generates a brush form and requests a paint brush. The artist places a