Lorraine Oades, MFA, BFA
Part-time Faculty, Intermedia (Video, Performance and Electronic Arts), ARTX & Sculpture, Studio Arts
Originally from Winnipeg, Manitoba, Lorraine Oades has been working as an artist in Montreal, Quebec since the late 1980s. She graduated with honours in the Interdisciplinary Program at Emily Carr College of Art and Design and completed her MFA in Open Media at Concordia University, where she currently teaches in the Intermedia/Cyberarts program. Oades incorporates time-based media in sculptural environments in order to invite the viewer to engage physically with the work and explore their own creative potential. She sees art making as a durational activity, where the process of time is implicit in the final artwork. Early works like the Diane Piano, 1989, and Fuse, 1990, use multi-track audio technologies and multiple tape-recorders to examine three-dimensional aspects of sound. Her recent work incorporates electronics and digital media within large-scale installations to investigate the complex and interconnected relationship between beauty, self-destruction, world annihilation, and the hopeful possibility of renewal.
As part of her practice, Oades also initiates collaborative projects that emphasize alternative forms of public intervention, such as site-specific art exhibitions and events aimed at addressing timely social concerns from a local perspective. She has co-founded a number of artist groups, the most recent of which, Cut Rate Collective, published USED/Goods, (2004) a bilingual book based on the project of the same name that took place at the Montreal Salvation Army Thrift Store. The book and exhibition consider the social significance of artists' use of everyday objects in real world environments where audiences have little or no knowledge of contemporary art. Oades's work has been included in exhibitions across Canada and internationally.
BFA Honors Emily Carr College of Art and Design
MFA Concordia University
Areas of expertise
Electronics, sound, video, sculpture, installation.
Durational activity, public interventions, everyday environments.
Photo credit: Lorraine Oades
is a ambulatory sculpture that literally follows viewers and simultaneously displays their images on the screen. When a viewer changes direction, the TV changes directions as well.
An animated robotic artwork "TV Tracker" is meant to disarm gallery goers by creating a playful engagement with them as it follows our movements and literally puts us on TV.
There is something inherently old fashion about "TV tracker." Despite its use of contemporary imaging and tracking technologies, it is ultimately a mechanical object with almost endearing human-like qualities. Hopefully, these qualities will draw us in and act as a friendly reminder that we are constantly under surveillance. While someone may not actually be out there watching, our actions are being recorded and these images will come back to haunt us in unexpected ways.
Programming: Martin Peach
Fabrication: Robert Prenovault
Production Assistant: Matthieu Sabourin
The artist gratefully acknowledges Concordia University Part-time Faculty Association Professional Development for their support of this project.
Photo credit: Lorraine Oades
In participation with Quebec Digital Arts, NYC, this exhibition brings together six recent installations by eight Quebec artists. Movement, space and sound are central to their works, which explore the perception of time, observation/surveillance, the connections between seeing and hearing, and the coexistence of analogue and digital.
Underpinning these installations is a machine or the idea of a machine. At times, it lies at the heart of the artwork and reveals its inner workings; at other times, it is more discreet, opting for a subtle form of camouflage.
Featuring: Catherine Béchard & Sabin Hudon, Martine Crispo, Manon Labrecque, Lorraine Oades, François Quévillon, and Thomas McIntosh & Emmanuel Madan
Curated by Nicole Gingras
Brooklyn, New York October 2015