he sat on the glittering precipice is a multichannel video installation, made up of silent video loops created from source material of 24 pictures taken of Sinha's terminally ill father's bedroom window and sound recorded in his room over a 24 hour period. During this time, Sinha remained awake, trying to be mindfully present yet aware and at peace with the process of his father's passing. The resulting video and audio were processed into a 24 hour loop, from which the ...precipice installations are made. Each installation is a number of separate stretches of time in the 24 hour video, edited and chosen when commissioned---a meditation on Sinha's father's memory and his influence on the artist's own and other's lives. Initially conceived as a way to connect with his father's changing consciousness (through medication, exhaustion, and preparation for his death), the process of creating the 24 hour video yielded this form---the personal gesture of a discrete and unique presentation of this stretch of time in Sinha's life with his father. Technical notes The video loops are projected on a window or hanging glass (preferred), therefore, a semi-transparent scrim is required to mask the projection surface. Clear surfaces without frames or structural elements is optimal. Projecting on one “part” of a split window is permissible. There is no sound element, but a quiet space is absolutely essential. Other projection/screening options are possible, including wall projection and multi channel projections, or split screen options. However, this must be in consultation with the artist. Projection can be realized via DVD or computer file, depending on technical support available. Installations may be mounted in any reasonable space assuming it is quiet. he sat on the glittering precipice was supported by the Ontario Arts Council's Grants to New Media Artists Program (2007). Web design by Yesim Tosuner of backyarddesign.ca Exhibitions: EPK online (http://www.debsinha.com), projected launch January 7, 2010

In Holobomo, images and sounds are borrowed from blank-and-white films in order to compose a new narrative. Video artist Owen Eric Wood takes this material from the work of Toronto-based filmmaker Mike Hoolboom, who regularly employs the act of appropriation in the construction his films. As such, Holobomo is a second-generation appropriation, raising issues of the degradation of meaning as images are taken out of context and recycled. The artist projects moving images on himself and a sculpture of himself to bridge the gap between two-dimensional image and three-dimensional space. In so doing he asks viewers to consider their own relationship with images and how images influence memory, perception and the way we experience life.

Advice on how to gain independence and control in the face of the difficulties implicit in human relationships. We live in a busy world and isolation seems to be the only way to escape the buzz of lists, inspirational catchphrases and reminders to upgrade — now! The peace of ignoring the phone may be bliss, but what about when we get what we ask for, and are forgotten altogether? The author mulls over the bittersweet reality of escaping. A video about wanting to be alone and being lonely — a meditation on the cult of individuality and independence in our anxious urban world. Created in 1998, but now feels even more relevant during these current pandemic times.

Geese on the edge of the sea. In the presence of the intruder, the geese move comfortably as a calm and silent entity in this unnatural habitat, in a dignified retreat or perhaps making gracious headway. Is this the only benign endgame possible? Shot in Vancouver, Canada