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\cf2 \cb3 \strokec2 <\cf4 \strokec4 a\cf0 \strokec5  \cf6 \strokec6 href\cf2 \strokec2 =\cf7 \strokec7 "index.html"\cf0 \strokec5  \cf6 \strokec6 target\cf2 \strokec2 =\cf7 \strokec7 "top"\cf2 \strokec2 ><\cf4 \strokec4 img\cf0 \strokec5  \cf6 \strokec6 src\cf2 \strokec2 =\cf7 \strokec7 "fionabowie.gif"\cf0 \strokec5  \cf6 \strokec6 height\cf2 \strokec2 =\cf7 \strokec7 "30"\cf0 \strokec5  \cf6 \strokec6 border\cf2 \strokec2 =\cf7 \strokec7 "0"\cf2 \strokec2 ></\cf4 \strokec4 a\cf2 \strokec2 >\cf0 \strokec5 &nbsp&nbsp&nbsp&nbsp&nbsp\cb1 \
\cf2 \cb3 \strokec2 <\cf4 \strokec4 a\cf0 \strokec5  \cf6 \strokec6 href\cf2 \strokec2 =\cf7 \strokec7 "projects.html"\cf0 \strokec5  \cf6 \strokec6 title\cf2 \strokec2 =\cf7 \strokec7 "Projects"\cf0 \strokec5  \cf6 \strokec6 target\cf2 \strokec2 =\cf7 \strokec7 ""\cf2 \strokec2 ><\cf4 \strokec4 img\cf0 \strokec5  \cf6 \strokec6 src\cf2 \strokec2 =\cf7 \strokec7 "projectslens.gif"\cf0 \strokec5  \cf6 \strokec6 height\cf2 \strokec2 =\cf7 \strokec7 "40"\cf2 \strokec2 ></\cf4 \strokec4 a\cf2 \strokec2 >\cf0 \strokec5 &nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp&nbsp\cb1 \
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\
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\cf2 \cb3 \strokec2 <\cf4 \strokec4 FONT\cf0 \strokec5  \cf6 \strokec6 SIZE\cf2 \strokec2 =\cf6 \strokec6 2\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
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\cf0 \cb3 In \cf2 \strokec2 <\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 deliverance\cf2 \strokec2 </\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 , a 360 degree projection of a new cul-de-sac development envelops the viewer. Installed at Or Gallery, curated by Reid Shier,\cb1 \
\cb3 this anthropocentrist realm bereft of flora and fauna is superimposed with images such as leaves from absent trees or \cb1 \
\cb3 obsessively gesturing individuals. \cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\cb3 These images, printed onto lengths of film, are looped on an outer drum of Bowie's bespoke projector, \cb1 \
\cb3 their entire length visible and incrementally positioned in front of lenses as the drum turns. A computer controls three drum \cb1 \
\cb3 speeds so that the illusion of movement fluctuates: between a facsimile of slow motion film and a slow, incremental succession\cb1 \
\cb3 of stills. The loops in deliverance present temporal rifts beyond the repetitive structure of looping. Different frames from \cb1 \
\cb3 the same loop are projected onto different sectors of the room so that, the viewer can simultaneously observe past, \cb1 \
\cb3 present and future segments of a gesture.\cb1 \
\cb3 The cul-de-sac pictured \cf2 \strokec2 <\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 deliverance\cf2 \strokec2 </\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5  would be altered and darkened into a nighttime scene for \cf2 \strokec2 <\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 Phenotypes\cf2 \strokec2 </\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5  2001-2004 that turned \cb1 \
\cb3 viewers are turned into night-time voyeurs, as they watch the activities of people inside their seemingly cloned suburban homes.\cb1 \
\cb3 see essay \cf2 \strokec2 <\cf4 \strokec4 a\cf0 \strokec5  \cf6 \strokec6 href\cf2 \strokec2 =\cf7 \strokec7 "achong.html"\cf2 \strokec2 ><\cf4 \strokec4 b\cf2 \strokec2 ><\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 deliverance\cf2 \strokec2 </\cf4 \strokec4 b\cf2 \strokec2 ></\cf4 \strokec4 i\cf2 \strokec2 ></\cf4 \strokec4 a\cf2 \strokec2 >\cf0 \strokec5 , by Deanne Achong, Exhibition Essay, 1998 OR Gallery Monograph.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
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\cb3 This installation is flanked by numb, a real-time, 45 minute commute from a downtown parkade to the cul-de-sac featured in deliverance and back again. numb is projected on the wall outside the deliverance installation at the actual size of the car wind shield.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
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\cf2 \cb3 \strokec2 <\cf4 \strokec4 video\cf0 \strokec5  \cf6 \strokec6 width\cf2 \strokec2 =\cf7 \strokec7 "640px"\cf0 \strokec5  \cf6 \strokec6 loop\cf2 \strokec2 =\cf7 \strokec7 "true"\cf0 \strokec5  \cf6 \strokec6 autoplay\cf2 \strokec2 =\cf7 \strokec7 "true"\cf2 \strokec2 >\cf0 \strokec5  \cb1 \
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\cf0 \cb3 controls="controls"/> \cb1 \
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\cf2 \cb3 \strokec2 <\cf4 \strokec4 source\cf0 \strokec5  \cf6 \strokec6 src\cf2 \strokec2 =\cf7 \strokec7 ""\cf6 \strokec6 numb\cf0 \strokec5 .\cf6 \strokec6 mov\cf7 \strokec7 ""\cf0 \strokec5  \cb1 \
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\cf6 \cb3 \strokec6 type\cf2 \strokec2 =\cf7 \strokec7 "video/mp4"\cf2 \strokec2 ></\cf4 \strokec4 video\cf2 \strokec2 >\cf0 \strokec5  \cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\pard\pardeftab720\partightenfactor0
\cf0 \cb3 (excerpt) \cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\pard\pardeftab720\partightenfactor0
\cf2 \cb3 \strokec2 <\cf4 \strokec4 i\cf2 \strokec2 >\cf0 \strokec5 numb (1998)\cf2 \strokec2 </\cf4 \strokec4 i\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
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\cf0 \cb3 numb is a commute from a downtown Vancouver parkade to a new cul-de-sac development in the suburb of Coquitlam*, (a 40 minute drive from the city). The vehicle loops around the cul-de-sac and returns to the city. numb was realized as a single, continuous shot in real time. Thus the viewer is placed into the temporal flow of this monotonous routine. The dominant architectural feature of the new homes traveled to and from, is the double garage. The commute is much like the experience of watching TV: sooner or later one succumbs to the persistant hypnotic quality of the experience and lapses into a numb passivity. numb chronicles the ubiquitous, insular experience (in Vancouver and other cities) of commuting between the familiarity of work and the predictability of home.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\cb3 * This fairly average commute accounts for between 450 and 550 hours of the individuals time per year.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 ><\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\pard\pardeftab720\partightenfactor0
\cf2 \cb3 \strokec2 <\cf4 \strokec4 CENTER\cf2 \strokec2 >\cf0 \strokec5 &copy; all rights reserved/copyright    fiona bowie 2026\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\pard\pardeftab720\partightenfactor0
\cf0 \cb3 All images, sound and text are the exclusive copyright of the artist and may not be used or duplicated without \cb1 \
\cb3 the expressed permission of the artist.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\cb3 This work was created on the unceded territories of the Kwikwetl'em nation,(colonally known as Coquitlam, BC); Kwantlen nation,(Colonially known as New Westminster) and in K'emk'emel\'e1y (colonially known as Vancouver BC.),with gratitude\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\cb3 and acknowledgement of our host's nationhood; of their unceded, ancestral and current territories: \cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
\cb3 the Musqueam, Squamish, and Selilwitulh (Tsleil-Waututh) Nations.\cf2 \strokec2 <\cf4 \strokec4 br\cf2 \strokec2 >\cf0 \strokec5   \cb1 \
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\cf2 \cb3 \strokec2 </\cf4 \strokec4 HTML\cf2 \strokec2 >\cf0 \cb1 \strokec5 \
}