Allyson Clay works

The artist's camera is pointed outward, through the windows of a revolving restaurant, toward the cityscape of Vancouver’s West End. With the restaurant acting as moving tripod, the video begins by panning clockwise, slowly passing cargo ships, skyscrapers, Stanley Park, and mountains on Vancouver’s North Shore. Maintaining its slowly creeping pace, the video progresses, subsequently recording the movement of cruise liners and smaller vessels in Coal Harbour. Midway through the video, the action reverses—allowing boats and cars to travel backwards—gradually replaying the previous views.

The artist's camera is pointed outward, through the windows of a revolving restaurant, toward the cityscape of Vancouver’s West End. With the restaurant acting as moving tripod, the video begins by panning clockwise, slowly passing cargo ships, skyscrapers, Stanley Park, and mountains on Vancouver’s North Shore. Maintaining its slowly creeping pace, the video progresses, subsequently recording the movement of cruise liners and smaller vessels in Coal Harbour. Midway through the video, the action reverses—allowing boats and cars to travel backwards—gradually replaying the previous views.

The artist's camera is pointed outward, through the windows of a revolving restaurant, toward the cityscape of Vancouver’s West End. With the restaurant acting as moving tripod, the video begins by panning clockwise, slowly passing cargo ships, skyscrapers, Stanley Park, and mountains on Vancouver’s North Shore. Maintaining its slowly creeping pace, the video progresses, subsequently recording the movement of cruise liners and smaller vessels in Coal Harbour. Midway through the video, the action reverses—allowing boats and cars to travel backwards—gradually replaying the previous views.

Improper Perspectives consists of five tripod-mounted video projectors, each fitted with a short metal arm that extends to hold a small, sandblasted glass plate. Projected onto each glass plate is one of five videos, captured with handheld camera, of the exterior windows of apartment dwellings. The videos were filmed at dusk or after dark, allowing their interior lights to reveal glimpses of living spaces. These views include, often for only fleeting moments, the figures of individuals unaware of the camera’s gaze.

Improper Perspectives consists of five tripod-mounted video projectors, each fitted with a short metal arm that extends to hold a small, sandblasted glass plate. Projected onto each glass plate is one of five videos, captured with handheld camera, of the exterior windows of apartment dwellings. The videos were filmed at dusk or after dark, allowing their interior lights to reveal glimpses of living spaces. These views include, often for only fleeting moments, the figures of individuals unaware of the camera’s gaze.

Improper Perspectives consists of five tripod-mounted video projectors, each fitted with a short metal arm that extends to hold a small, sandblasted glass plate. Projected onto each glass plate is one of five videos, captured with handheld camera, of the exterior windows of apartment dwellings. The videos were filmed at dusk or after dark, allowing their interior lights to reveal glimpses of living spaces. These views include, often for only fleeting moments, the figures of individuals unaware of the camera’s gaze.

Improper Perspectives consists of five tripod-mounted video projectors, each fitted with a short metal arm that extends to hold a small, sandblasted glass plate. Projected onto each glass plate is one of five videos, captured with handheld camera, of the exterior windows of apartment dwellings. The videos were filmed at dusk or after dark, allowing their interior lights to reveal glimpses of living spaces. These views include, often for only fleeting moments, the figures of individuals unaware of the camera’s gaze.

Improper Perspectives consists of five tripod-mounted video projectors, each fitted with a short metal arm that extends to hold a small, sandblasted glass plate. Projected onto each glass plate is one of five videos, captured with handheld camera, of the exterior windows of apartment dwellings. The videos were filmed at dusk or after dark, allowing their interior lights to reveal glimpses of living spaces. These views include, often for only fleeting moments, the figures of individuals unaware of the camera’s gaze.

Imaginary Standard Distance features video footage of a public telephone structure in Paris and the patrons who use it. The work’s open-ended narratives are influenced by the shifting light of its two contrasting versions: day and night. As people move in and out of the tripartite kiosk, which houses three separate phone booths, the camera captures their private gestures within a public space. The patrons chat leisurely, often leaning on the steel countertops or glass walls of the booths, or communicate with extraneous hand movements to the unseen recipients of their calls. Nighttime patrons are fewer (which sees the kiosk empty at times) and engage the phones in distinctive ways: a young, flirtatious couple occupy a booth together; a woman switches booths; and a man sets his phone down to run momentarily offscreen.

Imaginary Standard Distance features video footage of a public telephone structure in Paris and the patrons who use it. The work’s open-ended narratives are influenced by the shifting light of its two contrasting versions: day and night. As people move in and out of the tripartite kiosk, which houses three separate phone booths, the camera captures their private gestures within a public space. The patrons chat leisurely, often leaning on the steel countertops or glass walls of the booths, or communicate with extraneous hand movements to the unseen recipients of their calls. Nighttime patrons are fewer (which sees the kiosk empty at times) and engage the phones in distinctive ways: a young, flirtatious couple occupy a booth together; a woman switches booths; and a man sets his phone down to run momentarily offscreen.