Erin Gee: To the Sooe

24 January 2020 – 19 April 2020

About the Exhibition

Curated By

Tak Pham

Organized & Circulated By

MacKenzie Art Gallery, in partnership with the University of Regina


Sim Gallery

It is a digital irony that we are more than ever deprived of connection and emotion in the age of advanced communication technology. Originally from Regina and now based in Montreal, media artist Erin Gee seeks to understand the relationship between machines and human body by creating emotionally stimulating environments using sonic electronics and computational algorithms. Experiencing algorithmic distortion, transformation, and enhancement, our bodies responses to Gee’s technology will reveal a healing potential in technologically augmented settings.

Gee’s work also addresses contemporary social concerns and issues. At a time when technological advancement is further isolating us and stigma against mental health is still prevalent, Gee’s technology finds its usefulness in enabling us to get in touch with our own feelings and the feelings of other people. Gee enhances organic responses that form the basis of any human body: vibration in the larynx, heartbeat, pulse, sweat, and autonomous sensory meridian response (ASMR).

The machines in the exhibition are expressive tools. Rather than collecting and analyzing bio-data, they amplify it in order to help us pay more attention to our own, and other bodies in our environment.

Works in the Exhibition

Erin Gee, installation detail, To the Sooe, 2018.

Erin Gee, installation detail, To the Sooe, 2018.

Erin Gee, installation detail, To the Sooe, 2018.

Erin Gee, installation detail, To the Sooe, 2018.



Erin Gee is a Canadian media artist and composer who explores human voices in electronic bodies. Articulating feminist materialist strategies for creation with digital tools, Gee works with technology through the human body and its voices. In particular, she likens the micro rhythms of emotion in the body to the rhythms of a vibrating vocal fold, exposing the material of affect as embodied and embedded communicative tool.

Her work in bio signal driven choral composition, virtual reality, and robotics has been shown at venues such as FILE festival, São Paulo (2019), Cluster Festival, Winnipeg (2019), Ars Electronica (2018), NRW Forum, Düsseldorf (2018), Trinity Square Video, Toronto (2017), Media Live Festival, Boulder USA (2017), and Musée d’art contemporain de Montréal (2015).