MONTREAL.- On the boundaries of performance, cinema and image, Lynne Marsh’s works explore the relationship between physical and psychological spaces. The exhibition is comprised of three recent major video installations by the Canadian artist: Camera Opera (2008), Stadium (2008) and Ballroom (2004). All three feature a single female figure in a vast, uncluttered architectural space. For the first time, the artist has abandoned the creation of fictional, virtual spaces, to investigate real spaces, evoking their social, historical or cultural functions.

A large-scale wall projection, Ballroom presents the artist dressed in a glittering costume, suspended upside down, arms outstretched, twirling like a mirror ball in London’s Rivoli Ballroom, accompanied by a soundtrack that accentuates the acceleration of her spinning body. Stadium brings to mind a cinema setting with its free-standing screen and old wooden chairs. Filmed in the Berlin Olympic Stadium where the controversial 1936 Games were held, the work follows the nonspecific figure of an athlete hurtling through a sea of empty seats. Lastly, in Camera Opera, Marsh has simulated a TV studio by mounting two flat-screen monitors on tripods. The video presents an anchorwoman in a TV studio just a few minutes before airtime, but it is the cameras themselves that become the subject of the work and the action, the filming of the shot. The artist considers the television studio as a fictional space.

Lynne Marsh was born in Vancouver in 1969. Holder of a BA from Concordia University and an MA from Goldsmiths College in London, she is a lecturer at the University of Hertfordshire in the United Kingdom. Her installations have been presented in numerous solo and group exhibitions in Canada, the United States and Europe. Lynne Marsh divides her time between London, where she also teaches, and her studio.