HEWN Exhibition

Epiphany (1)

Wood, wax, thread, light bulb, and lampshade.

These spherical representations of different natural phenomena are embroidered and embedded into wax, forming systematized yet tangled arrangements. This series of work exists as a documentation of her own inspection of the autonomously structured forms of being, using images of bacterial fractals and planetary architecture to reveal the patterned, incessant refolding within nature. With the idea of manifestation as a repetitive cause and effect, these works present themselves as a visual expression of this process- the overgrowing flow of infinite complex material. 

by Zannie Doyon

HEWN Exhibition

Epiphany (2)

Wax, wood, thread

These spherical representations of different natural phenomena are embroidered and embedded into wax, forming systematized yet tangled arrangements. This series of work exists as a documentation of her own inspection of the autonomously structured forms of being, using images of bacterial fractals and planetary architecture to reveal the patterned, incessant refolding within nature. With the idea of manifestation as a repetitive cause and effect, these works present themselves as a visual expression of this process- the overgrowing flow of infinite complex material. 

by Zannie Doyon

HEWN Exhibition

Bacterium (1 through 5)

Wax, wood, thread.

These spherical representations of different natural phenomena are embroidered and embedded into wax, forming systematized yet tangled arrangements. This series of work exists as a documentation of her own inspection of the autonomously structured forms of being, using images of bacterial fractals and planetary architecture to reveal the patterned, incessant refolding within nature. With the idea of manifestation as a repetitive cause and effect, these works present themselves as a visual expression of this process- the overgrowing flow of infinite complex material. 

by Zannie Doyon

site & time

by Zannie Doyon 

For this installation I have chosen to approach the idea of “site” as a portal into an understanding of space, position, situation, and location. With this I decided to produce a work as a commentary on our physical presence within a setting, and in this condition a gallery setting.  I wanted to produce a work that would alter the space, the room, in a minimal and unobtrusive way, yet effective in drawing ones attention to their surroundings and their position within it.  The obtrusiveness of the piece, as being an obstacle for the viewer, becomes minor (and therefore unobtrusive) in its being an installation which only is a small addition to the room- a thin, delicate and impermanent addition to the structure of the particular material space it becomes installed in.  As the viewers (or subjected participants) enter the room, they are forced to interact with an artificial floor, a thin layer of clear plastic sheeting that has been installed to replace the floor, about 2 feet above the actual ground below. The space between the artificial floor and the actual floor is an empty void until the viewers engage with the room.  As the plastic sheet is walked on, it stretches until the participant’s foot is standing on both the ground of the building, and the plastic floor that surfaces. The foot makes a permanent mark on this floor; it stretches the plastic and remains as reminder of its previous existence in that position as the person continues to move through the room. The participant makes a permanent mark on an impermanent space, as this piece is meant to be re-made as a blank slate if ever re-installed. The piece is a marker of existence and of time by documenting and highlighting one’s own, and communal, situation and place within the site of installation. As one moves through the room, they inevitably press down the plastic and leaving their mark. The piece, therefore, marks an interaction within a site. It documents the site itself and the site of anything that enters that space. Contrary to the existence of the mark that is left behind, folds within the plastic are formed as it becomes taught while it is being stepped on, and light becomes reflected off the (now angled) plastic as it is pulled down. These small qualities of the piece prove to be a momentary documentation of an impermanent presence within the room. This piece therefore becomes both a permanent and impermanent form of documentation. It becomes a photograph of a moment, documenting a presence and the location of that presence within the materiality of the plastic floor, within it’s permanent stretched marks caused by the weight of one’s walking. It also contrarily becomes a transient documentary that can only be experienced as one interacts with the impermanent, ever-changing space- the wrinkles in the plastic and angled light reflections forming under ones feet forcing an awareness to ones location within the space. In this way, this piece is both an ephemeral understanding of a site and a permanent reminder of a site that once was.

Untitled (having been made)

Lithograph and thread

by Zannie Doyon

This is an edition of 6 multi-layered lithographs, all featuring the same series of 8 dots, with each individual lithograph embroidered with thread, connecting the dots in 6 independent ways.

Self Portrait 2011

by Zannie Doyon