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beginning again (2020)

beginning again is a repetitive performative action of volleying a balloon into space. Dull thuds of gloved hands against the balloon’s skin and footsteps of the performer occur again and again and again. The performer initiates but does not control the trajectory or speed of the balloon’s arc which is affected by its own resistance and the room’s  air currents. Stein’s notion of time as a continuous present is of “more and more of everything, beginning and beginning and beginning.”[1] Time is the present, the now, not a continuum of the past-present-future. The present is repetition: the sense of difference lies with the perceiver. ArtLab Digital Features, Visual Art Department, Western University.

[1] Gertrude Stein, “Composition as Explanation” (Poetry Foundation, Chicago)

when the crickets hesitate (2021)

Speakers, organic matter, and signal cable cover the gallery floor evoking our techno-organic natureculture. An evolving soundscape of field recordings from land, air, and water in SW Ontario mixes sense and nonsense of human and nonhuman sound – bugs and birds, motors, wind, thunder, and waves – processed to distort their identity. The sonic becomings present an uncertain ecology of fluctuating forces and affect. The listener is immersed in a sonic space that is familiar and unfamiliar, located and dislocating. Sound intermingles with the moving images of Eeva Siivonen’s video in a sensorial environment of ambiguous presence and absence and absence.

when the crickets hesitate, 2021

A Little Piece of String (2018)

Inspired by Gertrude Stein’s 1914 literary text, Tender Buttons, which performs everyday objects to shift the stability of form and meaning, my approach is sonic: signal is transferred to everyday materials and objects to produce kinetic-sonic actions and interactions with recurrence. A multi-channel sound installation unfolds as an evolving composition of spatialized sound using a serial algorithm for signal generation, pick-up mics for amplification, and delay as output. Transforming the same into difference guides the listener through the space of the gallery. Solo Exhibition, Remai Modern, Saskatoon.

A Little Piece of String, 2018

<Listen 1> Installation

<Listen 2> Performance Improvisation with Jeff Morton

In Conversation:

This work included a Web commission by the Remai Modern in 2017. (See PERFORMANCE: Material Signals)

becoming again beginning undone (2021)

Small sounds, image, text, rhythms, and tonalities bleed into and mix with each other, transgressing the borders of space and containment. A techno-organic sound installation of matter and found materials is transcribed into an evolving notation of sound objects and text. Video animations mix and remix the language of sound in fleeting text-images of sense and non-sense. A bench-platform augments the physical sensation of sound. The sonic sensibility of becoming, beginning, undoing, and redoing connects the listener to sounds of difference and to language as a new symbolic space of subjective, objective, and collective relations. Sound, text, the senses, and cognition perform their becomings and beginnings, undone again.

Sound Installation & details: becoming again beginning undone
Projection & Sound Bench: becoming again beginning undone

Walk-through: BecomingAgainBeginningUndone.mp4 from Ellen Moffat on Vimeo.

Video still
Video still

Triptych Text Animation:


Sounding Bodies | Body Soundings (2019)

A collaboration with Helen Pridmore: With mutual interests in sound, resonance, and the body in the world, Helen and I explore and experiment with human sound and acoustic materiality through structured improvisation for a collaborative performance using indeterminacy and improvisation as our process. Our performance occurs in separate locations: my sound and actions are transmitted to the space where Helen is performing, allowing her to see and hear me. I have no access to her sound. The post-performance version of the work presents an installation-instrument that invites interaction. The project was developed during a residency at PAVED Arts, Saskatoon, in 2019.

MoffatPridmoreCollabPerf from Ellen Moffat on Vimeo.

Performance: SoundingBodies|BodySoundings, Saskatoon

Texturings (2017)

A collaborative performance of sound and moving image with Eeva Siivonen, grounded in experimentation and exploration. Video projections of the natural micro-environment extend over the gallery walls, floor and ceiling creating a tactile and layered yet ambiguous impression of an undefined, nameless space. Sound is generated using materials, digital signal and actions resulting in tonal and percussive textures. Together, sound and image create an embodied, primordial, intimate and sensorial environment of natural and constructed elements and affect as presence, absence, transience, spatial and social relations.

Performance Detail, Forest City Gallery, London

Small Sonorities: Material Signals (2017)

Objects perform in response to low frequency signal, their actions suggesting forces and noise of the everyday as a form of little theatre or anarchic Dadaist performance. Digital signal is transferred indirectly to objects via physical interfaces and vibra-tactile transducers, functioning as a trigger that causes sonic-kinetic events. The project was a web commission by the Remai Modern.

Surface Resonance (2017)

Gallery 12-14 Schleifmuhlgasse Contemporary, Vienna

Surface Resonance is a situated sound installation using the gallery’s windows as amplifiers with surface excitors as transducers to connect interior and exterior space as acoustic interfaces. The composition, constructed around harmonics and frequency modulation, references the serial method of the Viennese School. Sound is heard and felt as tangible, embodied experience through direct contact with the vibrating glass membrane. Ambient sound from the gallery mixes with sounds of the street, generating an evolving composition of fluctuating sound. The work was included in Discs, a 2-person exhibition with Michael Koch, curated by Denise Parizek.










Sound Samples: Field Recordings

Headphones or Speakers Required

<LISTEN>   Surface Resonance_Inside    01’58

<LISTEN>   Surface Resonance _Outside   01’35



My sound installations and performances are aural environments of listening, embodied experience, and sonic becomings. Listening is a subjective and intersubjective engagement with the sense and nonsense of sound in a timespace of continual production. The sensorial experience of sound is visceral, relational, and embodied. The sonic becomings of diverse sounding bodies and their differentiated rhythms  propose an aural timespace of sensoriality, sense, and difference. Also see STATEMENT.

I am currently a doctoral candidate in Visual Arts (Studio) at Western University. My research is a speculative proposition for a feminine sonic with an emphasis on Canadian women sound artists.

My work has been presented throughout Canada and internationally in solo, collaborative, and interdisciplinary projects with performing and visual artists, computer scientists and engineers, and community groups.

Born in Toronto, I have lived and worked across Canada.




2022: Collaborative Performance with Helen Pridmore, Sonorities Festival, Belfast, April 6-10

2021: Collaborative web project with Eeva Siivonen, 12-12-12, curated by Christof Migone, Dec 12


SOLO Exhibitions

2021: becoming again beginning undone, Thesis Exhibition, McIntosh Gallery, London

2018: Small Sonorities: A Little Piece of String, curated by Troy Gronsdahl, Remai Modern, Saskatoon

2015: Playing with Gertrude, New Adventures in Sound Art and Charles Street Video, Toronto

2013: She I Her, Gordon Snelgrove Gallery, Saskatoon

2011: PickUpPutDown, PAVED Arts, Saskatoon

           Lines, Tones and Spaces, Port Loggia, NSCAD U, Halifax

           vBox, Project Space, Open Sound, Surrey Art Gallery

           COMP OSE, Thames Art Gallery, Chatham, Ontario

2009: COMP OSE, Doris McCarthy Gallery, U of T-Scarborough, Toronto

2008: COMP OSE, College Building Gallery, U of S, Saskatoon (catalogue)

2006: Claybank Voices, Art Gallery of Swift Current

           BLOW, Estevan National Exhibition Centre, Estevan

           SoundsNervouse, The New Gallery, Calgary

           SoundsNervouse, WPK Kennedy Centre, North Bay

2005: Fault Lines, MacKenzie Art Gallery (New Acquisitions), Regina (catalogue)

2004: BLOW, Mendel Art Gallery, Saskatoon (catalogue)

2001: Line Break, Galerie du Nouvel-Ontario, Sudbury

1999: Shades of Black and White, Neutral Ground, Regina

1998: Shades of Black and White, The Little Gallery, Prince Albert (catalogue)

1995: Still Life/Nature Morte, MFA Exhibition, Scotia Centre’s Galleria, Regina

TWO & THREE PERSON Exhibitions

2017: Discs, with Michael Koch, Gallery 12-14 Contemporary, Vienna

2011: Marking Space, with Lezli Rubin-Kunda, Kentler International Drawing Gallery, Brooklyn (publication)

2009: Eidola, W Brent & E Moffat, Open Space, Victoria (catalogue), curated by Ted Heibert and David Cecchetta

2003: Guessed House, E Moffat, L Duvall, R VKnowles, AKA, Saskatoon (catalogue)

2003: Surface Tension, E Moffat & R Horowitz, NAC, St Catherines

2002: Passages, E Moffat & J Ryckman, TRUCK Gallery, Calgary (publication)

2000: E Moffat & F Robson, The Photographers Gallery, Saskatoon

1999: Fixations, E Moffat & D Askevold, MSVU, Halifax(catalogue)

1999: Non-Places, E Moffat & J Peacock, Dunlop Art Gallery – Sherwood, Regina

1994: Inside Outside, E Moffat & R Chambers, Rosemont Art Gallery, Regina

GROUP Exhibitions (Selected)

2021: Written on the Earth, curated by Helen Gregory, McIntosh Gallery, London

2019: Please – Do Not Take This Lightly, Project Coordinator, Patrick Mahon, artLAB, UWO, London

2018: Transformables V, curated by Eric Mattson, Latitude 53, Edmonton

2017-2020: VibraFusionLab: Bridging Practices in Accessibility, Art and Communication, SW Ontario tour: Chatham (Thames Art Gallery); Toronto (VTape); London; Hamilton (Centre 3); Guelph (Civic Museum)

2017: Roaming 2: Bridges, curated by Xiao Han, International Faculty Show, Hubei Institute of Fine Art and University of Saskatchewan, Wuhan, China

2017: Greatest Hits, Staff and Sessional Exhibition, Gordon Snelgrove Gallery, University of Saskatchewan

2016: Echoing (Silent) Mechanisms, curated by Eric Mattson, Sounds Like, PAVED Arts, Saskatoon

2015: rhubarb, rhubarb, peas and carrots, curated by Blair Fornwald, Dunlop Art Gallery, Regina

2013: ping ting tootle, situated interactive sound installation in CAFKA, Kitchener

2012: in pulse with Kim Morgan in Place Markers: Mapping Locaitons and Probing Boundaries, curated by Peter Dykhuis, Dalhousie Art Gallery, Halifax

2010: How I Learned to Stop…, Gordon Snelgrove Gallery, U of S, Saskatoon

2008: spinning slowly, Night Trains, Salon Ba’stav, Tel Aviv

2007: Art is Not Mute, Ersta Konsthall Sound Archive, Stockholm, Sweden: Institute of Contemporary Art, Dunaújváros, Hungary; Botkyrka Konstall, Sweden; Hit, Gotenburg, Sweden

2006: Claybank Voices: How Men Turned White Mud into Cape Canaveral, curated by Kathleen Irwin and Rory McDonald in Mama Wetotan / Crossfiring, Knowhere Prod & CommonWeal, , SK (publication)

2005: Sound Madness 1, Sound + Vision Residency, The Banff Centre, Banff

2004: Civil Fugue, in Future Cities, curated by Shirley Madill, Art Gallery of Hamilton (publication)

2003: Utopia Station, FLEAS collective with M Rosler, Arsenale, Venice Biennale

2003: Utopia Station Poster project, FLEAS collective with M Rosler, Haus der Kunst, Munich

2003: Sprawl: Beyond the Field of Vision, Museum London (publication)

2002: Altars and Shrines, The Little Gallery, Prince Albert (catalogue)

2001: The Infinite Between, Confederation Centre for the Arts, Charlottetown

2001: Viewing Distance, touring exhibition. Swift Current, Estevan, Moose Jaw, Prince Albert

2001: The Infinite Between, Gallery 44, Toronto (publication)

2000: Utopia and Desire, The Little Gallery, Prince Albert

1998: Do It, Dunlop Art Gallery, Regina


2019: Sounding Bodies|Body Soundings, with Helen Pridmore, Real Sound, \Sounds Like\ An Audio Festival, Oct 10-12, Saskatoon

2018: Texturings, with Eeva Siivonen, in attendance, Forest City Gallery, London

2015: (un)quiet d, with Robert Luzar, Gallery G, Toronto

2014: Book Chair Table with Lia Pas; performed with SSO Chamber Players, Core Series V (In Transformation), Saskatoon

2013: book.table.chair, interdisciplinary project with Kathryn Ricketts; Nightswimming – Pure Research, with Brian Quirt and DD Kugler, Vancouver

2013: cruising, video with Kim Morgan as part of Tracing the City, SSHRC-Creation and Production Grant with Kim Morgan, Solomon Nagler, Martha Radice

2011: Strung with Jeff Morton, Sounds Like Audio Festival, AKA Gallery, Saskatoon

2010: MOO, site-specific sound installation with Jeff Morton, Agribition, Regina

2010: Realms of Knowing, performative book and sound project with Lezli Rubin-Kunda, Toronto

2007: Convocare/Consonare with David Gerhard, International Computer Music Conference, Copenhagen

2007: Art of Immersive Soundscapes with David Gerhard, U of R, Regina

2002: Track, SPASM Public Art Festival, Video Vérité, Saskatoon


2020: Virtual presentation of recorded sound performance: duet with Helen Pridmore, and trio with Marla Hlady and Gordon Monahan, Drone Day, of-the-now

2016: Surface : Signal, solo performance in Echoing (Silent) Mechanisms, Sounds Like Audio Festival, Saskatoon

2015: book, solo performance at Club Saw, Ottawa and Cathedral Village Art Festival, Regina

2014: Repetition, performed by members of Bozzini Quatuor and others, Concordia Creative Music Institute, La Vitrola, Montreal

2013: Chaser, solo piano performance for PLAY by Kathleen Irwin and Jeff Morton, Dunlop Art Gallery, Regina

2013: in pulse, video presentation, Poeticizing the Urban Apparatus Conference, Culture of Cities Centre, NYC

2012: in pulse, video presentation, Ambiances, Montreal

2009: Art’s Birthday, PAVED Arts, Saskatoon

2006: Far and Few: Art in the Air, Struts Gallery, Sackville

2006: Performed Installation, Western Front, Vancouver

2006: This City is a Radio, PAVED Art + New Media, Saskatoon

2005: Video Installation, Curb Appeal, Confederation Centre, Charlottetown

2005: Art in the Air, Struts Gallery, Sackville

2005: Now, PAVED Art + New Media, Saskatoon

2005: Upstream Saskatchewan (video), PAVED Art + New Media, Saskatoon

2003: Screening, Production Support Projects (video), Video Vérité, Saskatoon


2016: Book (remix) in Oscar’s Salon, on-line project, Betsy Warland

2013: Chaser, performance in PLAY by K Irwin & J Morton, Dunlop Art Gallery

2011: MOO, with Jeff Morton

2009: urbansubsonic, Saskatoon

2007: spinning slowly, with Yonatan Kunda and nilsOn Muniz, Tel Aviv

2005-08: The Phoneme Project

2006: Claybank Voices: How Men made White Mud…  (CD catalogue )

2004: BLOW (catalogue with audio CD)

2002: Fault Lines (catalogue with audio CD and DVD)

2000: Transitive (artist book / catalogue with CD)


2019: Collaborative Senior Artists Residency with Helen Pridmore, PAVED Arts, Saskatoon

2016: Research and Travel Residency, Yosuga Art Space, Kyoto

2015: Co-prod, Charles St Video and New Adventures in Sound Art, Toronto

2013: Jean Johnston Residency, Art and Art History Department U of S, Saskatoon

2012: Paris International Residency, Canada Council for the Arts

2011: Nova Scotia College of Art and Design, Halifax

2010: Canadian Western Agribition, Saskatchewan Arts Board, Regina

2010: Interrarium Interdisciplinary Workshop, The Banff Centre, Banff

2007: Production Residency, Oboro Media Centre, Montreal

2007: Art of Immersive Soundscapes 2 (ais2), University of Regina

2006: Western Front Artist-run Centre-Media Lab, Vancouver

2006: New Media Studio Lab, Dept of Media Production, University of Regina

2005: Confederation Centre for the Arts, Charlottetown

2005: Visual Arts Department, University of Regina, Regina

2005: Sound & Vision Residency, The Banff Centre, Banff

2002: Atlantic Centre for the Arts, New Smryna Beach, Florida

2001-02: Artist in Residence, Video Vérité Artist Centre, Saskatoon

2000: Discovery Residency, Banff Centre for the Arts, Banff

1998-99: Artist in Residence, CARFAC – Saskatchewan, Prince Albert

1998: Artist in Residence, Dunlop Art Gallery – Glen Elm Branch Library, Regina

1997-98: Artist in Residence, CARFAC – Saskatchewan, Prince Albert

1995-97: Artist in Residence, Prairie Trails Arts Council, Fort Qu’Appelle and area


2017: Small Sonorities: Material Signals, Web commission by Remai Modern Gallery

1998: Bench Marks Place, Core Area Art Park, Regina (commission)

1998: PLAY, Lakeridge Sports Park, Regina (commission)

1996: Signatures of Time (community collaboration), Fort Qu’Appelle, SK

1996: Inheritance, permanent installation, (collaboration), Lebret, SK

1995: A Place Called Home, (community collaboration), Lipton, SK

1994-95: Trace Elements, Rosemont Art Gallery – Les Sherman Park, Regina

1993: Threshold, University of Regina, Regina

1990: Imperial Highway, Concordia University (student competition)


2011-2020: Professional Affiliate, College of Graduate Studies and Research, University of Saskatchewan

2011-2014: member of Tracing the City, Social Sciences and Humanities Research-Creation and Production Grant: Principals: Solomon Nagler, Kim Morgan, Martha Radice


2017: Sessional Lecturer, Extended Media, University of Saskatchewan, Saskatoon

2016: Sessional Lecturer, Extended Media, University of Saskatchewan, Saskatoon

2016: Co-Instructor, Digital Storytelling, Sage Hill Writing and ICCC, U of Saskatchewan, Saskatoon

2015: Sessional Lecturer, Extended Media, University of Saskatchewan, Saskatoon

2014: Co-Instructor, Digital Storytelling, Sage Hill Writing and ICCC, U of Saskatchewan, Saskatoon

2013: FreeLab, co-instruction, The Asphalt Gallery Project, SSHRC (Tracing the City Project) and Dalhousie University, Halifax

2010: Sessional Lecturer, Extended Media, U of Saskatchewan, Saskatoon

2007: Mentor, The Walls Have Ears, Audio Production, PAVED Arts, Saskatoon

2005-07: Mentor, CARFAC-Sask Mentoring Program, Saskatchewan

2002-04: Projects Coordinator, SPASM Public Art Festival, PAVED Arts, Saskatoon

2001: Interim Programming Coordinator, Video Vérité, Saskatoon

2001: Sessional Lecturer, Intro to Extended Media, U of S Extension, La Ronge

1999: Coordinator, Land Art Walkabout, Prince Albert

1998: Coordinator, Satellite of Superposition, Art & Science Fair, Prince Albert

1997: Sessional Lecturer, Sculpture, University of Regina

1995: Sessional Lecturer, Introduction to 3-Dimensions, University of Regina

1994: Teaching Fellowships (2 semesters), University of Regina

1993: Teaching Assistant, Introduction to 3-Dimensions, University of Regina

1993: Coordinator, Metal Urges, Neutral Ground-CMS Metal Yard Project, Regina

1991-92: Co-Director, Visual Arts Gallery, Concordia University, Montreal


2013: cruising with Kim Morgan, Urban Encounters – SSHRC Conference, NSCAD U, Halifax

2013: in pulse, video presentation, Poeticizing the Urban Apparatus Conference, Culture of Cities Centre, NYC

2012: “Affective Space, Locative Bodies”, with Kim Morgan, Ambiances International, Montreal

2012: in pulse, video presentation, Ambiances, Montreal

2011: Artist Talk, Cineflux, Tracing the City, NSCADU, Halifax

2011: “Unmediating the City” Media Ecology Association, Edmonton

2011: Artist Talk, Big Things, Sculpture Symposium, Allen Sapp Gallery, North Battleford

2007: Convocare / Consonare, presentation with David Gerhard, International Computer Music Conference, Copenhagen


PhD in Studio, University of Western Ontario, London (2017-)

MFA, Sculpture, University of Regina, Regina (1995)

BFA, Studio, Concordia University, Montreal (1992)

BA, Anthropology, University of Toronto, Toronto (1977)

Small Sonorities (2017-)

Physical interfaces, materials, objects, surface exciters, and frequency modulation produce audible and physical vibration. In a stand where it did shake, objects positioned on the vibrating interfaces create small,  percussive, localized sound in reaction to the signal. The work is an installation and performance. In performance, I work with the dynamics and rhythms of the component elements and their kinetic actions, sound and silence. Group Exhibition, Latitude 53, Edmonton, 2018

 a stand where it did shake, 2018

A Pen. A Sponge.: Low frequency signal transferred to physical interfaces via vibrotactile transducers results in a kinetic sonic performance. Cycles of frequency modulation trigger material sonic actions as recurring composition of acoustic-electronic sound. A stylus circumnavigates  around the interior perimeter of a glass bowl as spectral sonic writing. A sponge moves in the speaker cone to create sonic texture. Touring Exhibition (Chatham, Toronto, London, Hamilton, Guelph) organized by Vibration Fusion Lab, 2017-2020

A Pen. A Sponge., 2017


Study in FM: Variation: Base frequencies relate to states of mind and body and the Earth’s electro-magnetic field. Kinetic and sonic actions of materials add a layer of analog sound. The empirical combines with experimental play in an endless loop of recurring signal. Group Exhibition, Gordon Snelgrove Gallery, Saskatoon, 2017

Study in FM_V#2-crpt

                                                                         Study in FM: Variation, 2017