Waterline: A Dance with the Surface of Water

Projected onto a screen partially submerged in the harbour’s water, a looped video will show dancers looking as if they are interacting with the surface of the water.

The dance was conceived of by hannah_g and she invited local choreographer, Rachel Cooper, to choreograph the piece. The work was created with two local dancers, Vanessa Hrynchuk and Lia Loewen.

The idea came during hannah’s regular walks along the Assiniboine River where she sees birds and fish paddling, jumping, and swimming. hannah became fascinated by how the surface of the water creates a line between the above and below, the visible and invisible, and how the line moves with the ripples. One morning, an image of dancers interacting with this line appeared in her mind with great force and became the impetus for this project.

Location, times, and dates

The Forks Harbor, Winnipeg, on the opening weekend of Nuit Blanche and Culture Days:

8 p.m. – 11 p.m. Friday 24 September

8 p.m. – 11 p.m. Saturday 25 September

8 p.m. – 11 p.m. Sunday 26 September

The event is free.

Covid-19 protocols

The event is outdoors. People will be directed to social distance and wear masks. It is a come-and-go event that takes place over the course of 3 hours. Government regulations and guidelines will be observed.


hannah_g                             Director, Producer

Rachel Cooper                    Choreographer

Lia Loewen                                    Dancer

Vanessa Hrynchuk                        Dancer

JP Media/Jordon Popowich       Videographer

Aston Coles                                   Production Technician

Colby Richardson                         Projectionist


Situated at the junction of the Red and Assiniboine Rivers on Treaty 1 territory, The Forks has been a meeting place for over 6,000 years. Treaty 1 territory encompasses the ancestral lands of the Anishinaabe, Ininew, Cree, Oji-Cree, Dakota and Dene Peoples and is the homeland of the Metis Nation. We are grateful and inspired to share work here.

The project was funded by the Manitoba Arts Council with support from Shelley Shearer School of Dance, Nick and Todd at the Gas Station Arts Centre, Artisan AV, The Forks. Special thanks to Rose Passante, Niigaan Sinclair.

Top Photo: a still from the video WATERLINE: A Dance With the Surface of Water; 2021.

The Louloudi Birds

A collaboration between hannah_g & Zoe Katsilerou.

Coming soon …

Zoe Katsilerou (singer/composer) and hannah_g create a three part narrative and suite of songs that draw on themes of home, immigration, the reframing of familiar surroundings, and opportunities for connection.

To be released end of August 2020 …

We gratefully acknowledge the generous support of the Canada Council for the Arts through the Digital Originals grant program.

Plague Fantasies

A collaboration between Canadian sound artist, Ken Gregory, and hannah_g.

_g reads texts written during the Covid 19 pandemic over Gregory’s soundscapes.

The EP is a gesture of solidarity: by expressing our experiences of the Covid-19 crisis we hoped to provide affirmation and respite, a means of making sense of, and escaping into, experiences that are not one’s own.

The EP is a kind of call and response between two people who, though one-time neighbours, cannot meet in person. This situation is common all over the world now. Plague Fantasies is a small testimony to the determination to listen and respond and the slippery interpretations that can ensue.

Gregory and _g share the goal of creating alternative intimate spaces of experience whether through stories and experimental writing (_g) or performative media and robotics. This was an opportunity for the artists to riff on each other’s practices and expand their respective interests in hacking lived experience to find more connections between people and places as well as new perspectives.


Made with the generous support of the Manitoba Arts Council.

Davis Plett’s (not all men are men); a response

Published by Public Parking, Winnipeg. 28 March 2019.

Full Text below:

805-4821 (Not All Men Are Men)

805-4821 is a trans coming out story.
its also about the 80,000 words of facebook messages
my best friend and i wrote each other one fall.
its also about hamlet and trauma and having a feeling.
its also about my mom.
its mostly performed using an overhead projector
and its mostly performed in silence.
welcome to the movies.

Created and performed by Davis Plett. Edited by Gislina Patterson.

The performance took place in The Ugly, aceartinc., Winnipeg, Treaty One Territory.

15-18 November 2018.

A response by hannah_g

If I were a journalist, I might begin this piece so:

“Davis Plett (23) a petit blonde in pink two-piece with wide, gold, metal choker, black stilettos, and glasses, began their performance in the midst of a rapt audience. Seated in a large 1980’s office chair (emphasising their build), Plett operated an overhead projector/laptop hybrid in silence as acetate after acetate, and digital screen after screen of text and image rolled over the fabric of the old projection screen … ”

The visual description of the subject, once common in tabloids, directs the reader towards assumptions about intelligence, intention, personality, social standing, and availability. A female identified body in a public role was regarded as an available body. This still holds true. With simultaneously greater subtlety and absolute brazenness, female, and increasingly, male identified bodies, are still being overtly included in North American and European neo-liberal economies of sex, fantasy, commodity, personal branding, and power. Plett takes the brutish, vested language of the lowest-common-denominator-highest-yield-gaze and issues a layered and unflinching I would prefer not to. In a counter play to those directives issued by twenty-first century capitalism, Plett enacts increasingly productive complexity in a lexicon of courtesies and frankness that lays bare their rejection of manipulative classifications and decrees to consume and be consumable.

The details of Plett’s appearance and performance I listed are significant, but must go beyond a simple exercise. These details comprise meticulous elements of a meticulous work; meticulous in the way a person who has planned a murder is. In a sense, murder – an act of power and will to destroy another thing – and death are deeply present. Plett uses Shakespeare’s Hamlet as a force within the warrenous structure of their work, as well as a personal signifier. The play within a play strafes 805-4821 (not all men are men), but whereas this device was deployed by Hamlet to reveal his father’s murderer, Plett uses it to flush out that which seeks to murder their self with essentialist labels, expectations, abuse, or trauma.

Through confessional texts —  conversations, messages, self examination — Plett reveals and exposes their familial, romantic, platonic, and undefined relationships as a means of destroying, redeeming, and transcending. Tied in with sex, longing, and discovery, the texts are not all necessarily destructive. Listening to and reading them, it felt at times as if one were witnessing a staccatic series of petit morts, at others, the ecstasies of a mystic. Annihilating the self in order to experience divine revelations is a trope in spiritual journeys, after all. The mystic experiences a double release by disseminating revelations beyond the cloister, situating this as testimony.

On the tired, old, enormous projection screen we read line after line of text for 40 minutes. It is impossible to catch it all. The strange concoction of digital and analogue technology had a self-conscious nostalgia that was very contemporary, but not always legible. The overhead projector’s bulb was dim, Plett’s fingers, manipulating the acetate text, were fleet, making words, including final and first sentences, easily missable. The text — and therefore the act of reading it — was both dense and porous. Since one cannot be sure one has read the entire thing, the porousness and thus the absorbency of the text to hold perception, gap-filling, assumptions, and uncertainties is increased. We see the web but not all of its moorings. The sheer volume, the thickness of the experiences described, our experiences of them, intensified the density of an already dense piece of writing. A metaphor for the difficulty of comprehending another’s experience, perhaps. The lengths required to make that experience comprehensible. To make a person legible, regarded, understood, and not diminished by any of this. Instead becoming imprinted on every surface to counter violent hegemonies that kill.

Plett’s is a tangled revelation; they welcome the weeds and the roots and the intensity of being under the water of searching. Although they share all this with the audience and invite us in, the essential interiority of memory, emotion, relationships, and self-realisation remains intact, facilitated by the audience’s reading of Plett’s words pulled across the over head projector. The act of reading transfers the interiority to us, and we have both Plett’s and our own voice in our heads. It also positions Plett as a kind of handmaid. A secretarial handmaid.

Through careful use of clothing and props, Plett conjured a 1980s secretarial aesthetic: the Janine, the Tess McGill, the Nine-To-Fivers – women whose formidable attitudes are due to incredible latent powers expressed within and outside the office, amplified by flamboyant accessories, ozone destroying hair, and rapturous soundtracks.[1] However, these characters seek freedom and success within the savage capitalist structures that oppress them. Plett critically draws on this aesthetic, associated with mainstream ‘80s neoliberal storytelling, masterfully subverting it. Not least with the unexpected song they sing at the end of 805-4821 (not all men are men). Their vulnerable, unamplified, unaccompanied voice (which is somehow primed for the audience by their microwaving and eating of popcorn amongst us in a preceding scene) makes inescapable the body that is outside of, as well as inside of the texts. We are rapturously confronted with the realization that there is a body within those 80’s clothes, under that make up. That body is queerly present before us. That body can be invisible, disguised, revealed, heightened, subverted, inverted, converted, coveted according to their desires. We want to believe that.

I was working the double bill and was right at the back of The Ugly for both performances. I watched two audiences enter, mill, watch, mill again, and leave. People were quiet and, I think it fair to say, expectant. Of what? Of connection? Revelation? To receive a queer sacrament? Plett did speak in tongues, with tongue, a serpent’s seeking, and a human’s interior rearing. Transcending and immersing and rejecting the clinging, incendiary spectacle of a body that is silent and that speaks: a distinctly queer phenomenon. And yes, a sacred thing. The messy, uncomfortable kind.

[1] Janine was the secretary in the first Ghostbusters movie. Tess McGill was a secretary in the movie Working Girl, Dolly Parton, Jane Fonda, and Lily Tomlinson were secretaries in the movie 9 to 5.

An Apartment In Lunenburg, Nova Scotia

By hannah_g

With thanks to Derek Dunlop and Bossy & Jayme Spinks and Helah.


Last month I found myself in a dim café off Platform 1 of Stroud railway station. After getting my coffee, I stood by a window that repelled light, and idly listened to the chatter of the other passengers waiting for the 9.04 to London, Paddington. I soon realised that the woman who ran the place had quite a few regulars: “Going to the dentist again, John?”, “… you’ll enjoy looking out the window, Barb.” It’s a cosy though chilly nook, with old railway memorabilia on the walls, and newspapers presented on a table. The woman (flyaway hair escaping from a grey-white topknot) dispensed coffee, tea, and bacon sandwiches. Framed cartoons depicting rail service scenes from the 1930s lined one wall, romances and mysteries lined the shelf beneath them. The stuff in this place looked like it had been accrued over time, its purpose only becoming apparent when this café was acquired by the current owner. Or perhaps not its purpose; simply an opportunity.

A partial meaning

Being near strangers and also apart meant that we imagined each other’s company. A new space was formed by the act of communicating. Exchanging thoughts, memories, opinions, snippets of ourselves we furnished this apart space and dwelled in/used it for moments of consecutive days. Like any private place, you have to be there to know, but your there and my there will remain separate. If we should share a space it will simply be another space, related to, perhaps informed by, that which we previously created in our respective minds.

An apartment- a place to shelter from the weather and other people. A place to share an incomplete praecie of who you are, what you know and value, and sometimes who you love and have loved. A home. Above, below, or beside other apartments containing other people using the space in ways most likely similar to you. A place to fulfil the private necessities and luxuries of life in comfort.

Exhibition / exposition / exposure

The original properties of the word ‘curate’ such as caring for, stewarding, sharing thoughtfully and knowledgeably I hold in regard. And I love looking at art objects and object objects and visiting places in which they have been collected and presented with intention. It will not be surprising that, for the most part, I rather like contemporary art galleries and believe in their purpose as places to encounter objects, experiences, texts, bodies, and ideas. They are places to think intimately and usually solitarily, despite the presence of other visitors. Seeing art and objects in a person’s home is a kindred experience though different in important ways. Depending on one’s relationship with the home one is in, one might cast surreptitious glances at things or confidently ask after them. One is exposing one’s level of interest.

A few days ago I asked an artist, “Where would you like people to see your work?” And via the tumble of conversation, I wondered about the setting up of circumstances for people to see art in a home without them realising that that was what was happening. Using cruising apps was my initial thought because of the nature of the artist’s work. The moments of being in unfamiliar domestic settings that precede sex, what would one see in that heightened state? What would one remember? And what about the act of cruising the art itself? The artist described doing this when he visits a gallery. Looking within the mists of intention when anything is possible.

Abigail’s Agenda

Strangers, acquaintances, neighbours, pals, friends are the components of a certain kind of community, usually one defined by geography. How do we get to know one another and when do we want to do this? How can we see what each other does? What if it isn’t on neutral ground? What if we become a guest as well as an acquaintance? What if we become a guest as well as an old friend? What if we become a host as well as an artist?

Let’s find out.

Typesetting and design by Jayme Spinks.

Where and How: a composition for Kristin Nelson’s Sydney/Sidney

Kristin Nelson (Canada) commissioned me and other artists to create new work using the sounds of winches as recorded in the Joan Sutherland Theatre at the Sydney Opera House by Sound Designer Emma Duggan during a Canada Council for the Arts International Residency at Artspace in Sydney, Australia. More info at her website here.

The album is currently available for $40 USD and was produced in an edition of 100. Cost includes shipping within Canada and the US.

The project was made possible by The Winnipeg Arts Council.

Sounds of Curtains (now destroyed) Sydney Opera House, 2020; vinyl, screen print, risograph, duralar, offset printing, book binding; 12.25 x 12.875.

Available for purchase on this discogs page. You can also hear samples there.

Sounds of Curtains (now destroyed) Sydney Opera House vinyl* release date was March 6, 2020, at Garry Street Coffee in Winnipeg (CA) and contains works by crys cole (DE), Christine Fellows (CA), hannah_g (CA), Casey Mecija (CA), Gail Priest (AU), Judith Rice (CA), Kelly Ruth (CA), Andrea Roberts (CA), Süss (CA), and Roger White (CA). Includes a bonus written response in the form of a ficto-criticism by artist and cultural theorist Jeanne Randolph (CA), and a visual response to Jeanne Randolph’s text by artist Kelly Campbell (CA).

Below is the text explaining my composition.

Book design by Kristin Nelson.

Seeing And Knowing – Essayist for Young Lungs Dance Exchange

One writer and one visual artist or photographer are paid to participate in the Research Series by creatively responding to the work of the in-residence artists. The point of the program is to allow for exchange across discipline and to create opportunities to broaden the exploration of the artists in residence by offering multiple in-depth perspectives. Writers and visual artists are invited to participate at various times throughout the year.

In the Autumn of 2017, I was paired with Davis Plett, Alexandra Winters, Warren McLelland, Kayla Jeanson, Brianna Ferguson, and Rachelle Bourget.

Here’s a link to the online essay. Below, the whole text is pasted.



seeing and knowing
Produced as part of Research Series September-November 2017

by hannah_g

I was looking at some reproductions of Torey Thornton’s paintings the other day. Colourful, witty, the paintings contain forms which correlate to things in the world one may be familiar with – tiger stripes, fruit, a herd, furniture. Getting into their specifics, however, places one in the realm of conjecture. Is the tiger dead or alive or someone in a tiger suit? Is that blob a table or a rug? “His work oscillates between legibility and abstraction,” as the Almine Rech Gallery puts it. This oscillation – which occurs across many disciplines – provides the means for recognition, alienation, self discovery, enjoyment, connection, boredom, distraction, contemplation … that is, it provides a means of exchange.


Alexandra Winters & Warren McLelland

Speed, strength, stamina, and repetition are common elements of sport and dance: Winters’ choreography on McLelland and herself sought the crossover between the two and thereby perhaps the epiphany of a common intention.

The cheers from a huge crowd was the work’s soundtrack and accompanied McLelland’s warm up jog which stopped abruptly at one of the studio’s pillars (amongst four of which the piece was placed to infer a sporting frame such as a baseball diamond, the corner of a soccer field, or a ring). Here his body opened into the star shape that often accompanies a sporting moment, such as when a soccer player strikes the ball for a long punt or baseball fielder is in the air straining to make a catch. For the duration of the first half of the piece, McLelland referenced a cluster of sporting gestures from soccer and football players, baseball shortstop and batter, ice hockey goalie, and referees, which the choreography stylised, decontexualising them so that aggression, efficiency, and the need to win made way for a physicality that elicited other references that included voguing and ballet as well as moments that fell entirely out of specific techniques. Winters, dressed in the black t-shirt and shorts most readily associated with referees, signified the second half. Offsetting the ref reference, she engaged McLelland combatively, emulating the intimate, non-sexual physicality of engaging an opponent that is premised on the ability and conditioning of bodies and the technique that has been worked into them over many years. Winters’ body interrupted the assumed masculinity of sport and aggression, emphasising interaction over competition. This allowed for a moment where both performers flowed out of their floor hold and into lying on their backs, fist pumping tiredly in rhythm with the cheering, which accompanied the whole performance. After a few seconds they reengaged and returned to their sparring and teaming.

Both performers maintained a ‘game face’, their expressions telling us that they were concentrating on something outside of themselves that wasn’t necessarily each other or what the audience could actually see. Their movement, which required much strength and created many forms that were almost micro tableaux, ranged around the performance area, filling it. The absence of prescribed emotion heightened the impression that they had stakes in what their physicality was going to achieve in the moment, which, I suspect, led to the audience having an investment in the piece that was not based only in emotional receptivity, but in an abstraction of sport’s movements, techniques, and consequences, and of players’ and spectators’ bodies and relationships.


Kayla Jeanson, Brianna Ferguson, & Alexandra Winters

In Labyrinthinitis, Jeanson explores the effects of YouTube’s stabilisation tool on the bodies of the dancers she videoed. Learning the movements which would prompt the tool to act most noticeably, Jeanson created choreography that would elicit the greatest intervention by the tool. There is a resemblance between the successful gestures – swinging, swaying, eyes moving slowly from side to side, jumping, hands twisting and pirouetting – and it is tempting to think of them as a little primate-like or as the cause of the simultaneous movement of the background and floor line, but the piece cautions against such interpretation or categorisation, implying that this itself will change the way the work is seen.

Jeanson’s processed videos show bodies that we are watching via something else’s observation. The sensation of being behind some one’s or thing’s eyes is like playing a part in the movie Being John Malkovich but in this circumstance the observer, the Artificial Intelligence behind the stabilisation effect, changes in a real way that which is observed. Although popular consciousness is familiar with the principle that particles change according to whether they are or are not watched (the Zeno effect) and is parallel to research in the social sciences that posits perception can change how the perceived is interacted with, it is still shocking to see what those changes actually look like and how they effect us.

The jerks, the unnatural flow of the bodies whose natural timing has been disturbed, the odd panning in the shots, the slight zooms, and the shudders of the background, all make for an uncanny experience. These once freely moving human bodies, now processed, are assigned an A.I. interpretation of their movement and the bodies are corrected accordingly. Animation techniques are brought to mind, but this stabilisation effect is animating something that is already animated, that is living, in order to create what it calculates is conventional or ‘normal’. One could think of this as a kind of metaphor for the issues of body conventions much of the dance world struggles with. One is also reminded that defining and enforcing ‘the normal’ is a characteristic of tyranny. Thus digitising and editing bodies also raises questions of who or what does the defining and enforcing and what are the implications when we can no longer discern that an image or video is ‘off’ and therefore manipulated and hence what is real, what is not, what is true, what is a false, who is in control.


Davis Plett & Rachelle Bourget

Rituals are a means of encoding specific sequences of actions that are designed to exert a form of power. They often mark or are attempts at transformation. Bourget performed an intense interiority, her movement communicating a concentration and purpose usually reserved for ceremonies. She slowly crossed the space holding a cardboard box in front of her face and then after setting it down she removed a plastic bag from which in turn she took the dividers common to wine boxes then proceeded to slot them together to make three shapes we knew must be pre-determined given her manner of construction. This was part one and was, among several other things, a witty flirtation with the tedium that accompanies rituals with which we are overly familiar or have no stakes in. But the central preoccupation of the piece seemed more about deconstructing the power structures within bodies that have acquired particular vocabularies from specific training. Such training includes making itself clearly evident in the actions performed by those bodies, thus the bodies are allied to a set of rules created by schools of movement and thought. Plett choreographed the performance to objectify Bourget’s training which led to the disassembling of the meaning of everything she interacted with. The wine bottle dividers stopped being wine bottle dividers and became abstract sculptures; they were separated from their intended purpose (which named them) via a ritual. We still see the divider, and the training, but accept and believe the transformations and the opportunity to become immersed in the spaces that form when meaning expands.

In the second part of the performance, Plett in plain sight, puppeteers a crumpled, thin plastic sheet from the ceiling, fidgeting it’s four sides to make it become a ghostly jellyfish that descends onto an almost full Fanta bottle placed on top of a red sheet of Mylar over an overhead projector. Aside from the phantom/Fanta pun, the performance seemed a reinterpretation of Bourget’s ritual: whereas the first observed transformation was that of the cardboard dividers, the plastic bags in which they had been packed and then carefully folded away were also changed by her performance and were then able to leave the confines of their prescribed purpose to potentially flap away into another. Thus we see Plett’s training, as well as the ripple between accepting one story for another.


Playing Ball – Research series story

The waves tumbled over the rocks and onto the beach, muscular and doubtless. A friend of Kenneth’s, a pitcher, had told him how he’d go to the beach when he had the blues and imagine the sea was a cheering crowd willing him to do well. When this pitcher won a chunk of cash on a scratch card, he blew the lot on a couple of crates of baseballs. He took them to the beach and spent a day pitching them into the sea: an offering to the waters.

Kenneth had come into a little money himself and decided to do what his friend had done. He brought his two crates to the beach and as the sun was beginning to set, he pushed his hand into its well worn mitt and limbered up, swinging his arms, rotating his shoulders, twisting his torso, getting the joints lubricated and muscles warm. He’d spent more of his life playing baseball than not and his body was shaped by its rhythms and repetitions. A centre fielder and star batter, he had moulded his body to swing, sprint, catch, and throw with the greatest power and efficiency. The form suited him but he worried his mind had become conditioned into a certain shape too and that he wasn’t thinking and moving in the world with full autonomy.

He threw the first ball far out into the waves. The sound of the sea heightened his awareness of his own movement. Kenneth felt his concentration transform his physicality from utilitarian to ritualistic, a set of repeated gestures that allowed him to experience everything as everything. He was used to concentrating on his body but now it was as if the sea was washing a film away. He experienced himself with a fresh intensity, feeling the ball, his mitt, the breeze, the rising moon and his body as profoundly related to one another.

The moon was at its zenith when he abruptly stopped pitching. He realised he wasn’t exercising oneness at all, he was simply polluting the sea. “Shit,” he groaned, his arms dropping to his sides. He stared at the waves rolling on and on, their cheering sounding more like anger. Even his staring felt like it changed the sea – was that polluting it too? The rhythm of the water now seemed off, too jerky but also too smooth. He switched between staring hard and pretending not to look, trying to discern just what effect, if any, he was having. It made him nauseous and he tightly closed his eyes. In his head a bunch of ball players appeared, each looped on a snippet of their game movement. When he contemplated them as a group their movement was regular, recognisable but when he focused on one, her gesture wobbled and his own perspective rippled in response making him very uneasy. A disturbance in the shallows snapped his eyes open and his mitted hand shot into the air in reflex to the blob flying towards him at speed. He made the catch- a wet baseball. He scanned the waters expecting to see a swimmer but there was none. Taking a few steps forward to scrutinise the surf more closely he saw a dull glowing – a group of jellyfish bobbing like phantoms. Another ball broke the surface above them and Kenneth made the catch. Quickly he pulled off his mitt, grabbed his bat, and ground his back foot into the sand. He waited, bat raised, eyes on the shallows. Another ball hurtled towards him – he made contact – a fly ball. Another came, he made contact again, and the crack told him it was a homer. He watched it land far out into the moonlit waters. ‘What am I doing?’ he thought, throwing down his bat and shoving his mitt back on. He waited. Eventually a ball came, he caught it, and threw it into a crate. Another ball came and he passed it onto the crate again and a pattern began.

Dawn broke, misty and grey. Kenneth’s two crates were full and piled up next to them were enough balls to fill another two. It had been a while since the last ball had appeared but he was still alert and limber for a good while before accepting it was done. He straightened up and took off his mitt, an ancient piece of battered, memoried leather. He walked with it to the water’s edge and drew back his arm in preparation for a final, awesome throw. The jellyfish, with their strange staccatic ballooning, had gone. If he threw his mitt it would not be returned and even if it was it would be changed and no longer be a part of his body as it was now. He turned and threw it onto the top of the pile of balls. Somethings are simply yours.