Articulating feminist-materialist strategies for creation with digital tools, Canadian artist Erin Gee uses human voices in electronic bodies as metaphor for artistic creation. In particular, she likens the microrhythms 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 biosignal-driven choral composition, virtual reality, and robotics has been shown in solo exhibition at MacKenzie Art Gallery, Regina (2020), and group exhibition at venues such as Toronto Biennale, Toronto (2019), Elektra Festival, Montreal (2019), FILE festival, São Paulo (2019), Cluster Festival, Winnipeg (2019), Ars Electronica (2018), NRW Forum, Düsseldorf (2018), Trinity Square Video, Toronto (2017), MediaLive Festival, Boulder USA (2017), and Musée d’art contemporain de Montréal (2015).
In her practice, Gee experiments with human biodata collection and affective interfaces, responsive fields which she probes in order to facilitate an awareness and practice of “embodied algorithmicity.” These processes speak to the hidden or obscured material and technical processes that enable human communication, and imply the body of the viewer as a part of the cybernetic system in place. She was an invited research associate at the University of Maine, USA (2018) in the department of chemical and biomedical engineering, and in the same year was invited resident at IEM Graz, Austria. She was artist in residence at Locus Sonus (École superieure d’art Aix en Provence, France) in 2019, and is currently artist in residence at Sporobole artist run center in Sherbrooke, Canada for 2019-2020.
Gee’s research in physiological markers of emotion has been noted by esse art contemporain, Scientific American, VICE, MusicWorks, Canadian Art magazine, and the National Post, among others. Images and analysis of her work are also included in Jennifer Rhee’s book The Robotic Imaginary: The Human and the Price of Dehumanized Labor (University of Minnesota Press, 2018).
Gee has published academic papers on topics of sound art, algorithms and embodiment in PUBLIC (2020), ASAP Journal (2019), Leonardo Music (2013) as well as eContact! Journal of Canadian electroacoustic community (2010). Gee also created of futurefemmes (archived – project no longer active), an online blog archived by Cornell University featuring interviews, showcased work and links to relevant articles on the topic of women working in technological culture.
Gee’s work can be found in private collections, as well as the public collection of the Saskatchewan Arts Board.
Gee has received awards from the Canada Council for the Arts, and the Conseil des arts et lettres du Québec, as well as support from the Conseil des Arts de Montreal, the Social Sciences and Humanities Research Council of Canada, and the Saskatchewan Arts Board. She is grateful for their continued support of the arts.