On Oct 24th, 2018, in Belliveau Cove, Nova Scotia, an eagle fell from the sky into the back of a man's pickup truck. Within a week, the man, his dog, and the eagle all died. Their deaths are diffracted through the memories of the man's sister, over the well in the basement of their family home, and between the pine-slatted walls of the local eagle rehabilitation centre.

On October 30th, 2014, at the Wichita Mid-Continent Airport in Kansas, U.S., a Beechcraft King Air B200 lost power to its left engine shortly after take-off, crashing through the roof of the FlightSafety International Citation Learning Center and colliding with a flight simulator inside. Searching the punctiform event for its significance, the exhibition presents the causal indeterminacy at the story's core as enigmatic exemplar; condensing, minutely, the accident's forensic and informational excess with a desire for immersion, narrative, and meaning.

Arranged as a series of nested diptychs, One through the other was a commissioned site-specific video, photo, and sculpture installation in the fashion and lifestyle showroom San Sheng Art Space. Taking its context as content, the exhibition opened with an appropriated image from San Sheng's Instagram account of an influencer holding the 2009 Mark Lewis Venice Biennale catalogue. The catalogue, as prop for a marketing campaign, established the working thematics of the exhibition: the tensioned position of art as, and in the service of, commodity.

Searching this tension, One through the other oscillated from its consideration of San Sheng Art Space to engage the neighbouring floral shop as site of reflection and refraction, pursuing the question of art's relation to commodity through colocation—where, to borrow Biennale Commissioner and Curator Barbara Fischer's observation on a Mark Lewis work, "both pictorial spaces are beheld equally, one through the other, perceptually pulsating back and forth in tension."

Throughout the exhibition, half of the site continued to function as fashion showroom, welcoming customers to observe, browse, and shop alongside the adjacent installation. In addition to the daytime viewing hours of the exhibition, a rear-projected video played on the window at night.

"Infinitely changeable, full of evanescent marble-patterned gradations, varying in every ripple, the fineness of its composition an everlasting joy to the eye. Let us try and analyze it."
Minnaert, M., Light and Colour in the Open Air (1954)

A networked planet; an improvised signal; the last swan. Filmed on the northern shores of Lake Ontario, amid the ruined utopic architecture of Ontario Place, Cygnus takes the geodesic-domed Cinesphere (the first permanent installation of IMAX), a sunken lake freighter turned breakwater, and an invasive mute swan as subjects of its tripartite cosmic zoom.