Artist

Geoffrey Shea

Geoffrey Shea is a Canadian media artist whose work highlights the intersections and opportunities between technological systems, belief systems and identity. His productions incorporate interactive programming, site-specific installation, mobile phones, a philosophical twist and a critical voice.
Working primarily in video and installation, Shea has demonstrated the effects of scale on depictions of subjectivity, from tiny poetic artworks to large public projections of ambient playspaces. His work has examined how democratic politics, organized religion and art practice itself create tensions between individual isolation and community responsibility. His artwork has been exhibited widely and was featured at two recent Nuits Blanches in Toronto and the exhibition “Talk to Me” at the Museum of Modern Art in New York.

According to writer Michael Tweed, in Shea’s work “the authority of the word, even the comforting sovereignty of the image, is revealed to be what it is: the elegant cloak of our still timid unknowing. Shea does not impose or catalogue the seemingly countless variations of melancholy and despair to which we are prone. What he does provide however is a sort of topography of courage, sketching the geography that stretches between optimism and resignation, hope and despair.”

Shea was a founder, in the 1980s, of InterAccess Electronic Media Art Centre in Toronto and an editor of the video journal, Diderot. Later he was the co-director of the international artist-in-residence program at United Media Arts Studies. He has curated numerous exhibitions and film programs, and is currently the Co-Artistic Director of the Common Pulse Media Art Festival.

Shea is an Associate Professor at OCAD University where he teaches part-time. He is the Co-Director of the Mobile Experience Lab, and is leading research into the intersections between artistic expression and physical disability, and the potential role of emerging technology.

Videography

Plastic Houses

2013, 30:00 minutes, colour, English

Work

1987, 35:00 minutes, colour, English

The Truth About The U.S.S.R.

1986, 29:00 minutes, colour, English or French

Racetrack

1984, 07:15 minutes, colour, English

Timmins (Ont.)

1984, 07:00 minutes, colour, English

Art Of Receiving Data,The

1984, 15:00 minutes, colour, English

K is for Chicken

1983, 06:00 minutes, colour, English/German

Speak No Evil

1983, 16:00 minutes, colour, English

Tentative Conclusion

1983, 15:00 minutes, colour, English

Garbage

1982, 11:00 minutes, colour, English

Sink Or Swim

1981, 07:00 minutes, colour

Critical Writing

Web film takes a monster step.
by Robert Everett-Green. The Globe and Mail, June 24, 1998.
Some Toronto Video: My work is not designed for a large audience...
by Su Rynard. Composition, Dec. 1996, v. 1, no. 3.
Video Art: L'art videographique
by James Loran Gillespie. Parallelogramme, 1994, v. 19, no. 4.
The Image of Art in Video
by Maureen Turim. Les Lieux de Video, International Video Art Exhibition, 1993. Durham: United Media Arts Studies, 1993.
... et de la video at the New Film Fest
by Geoffrey Shea. Cinema Canada, Jan. 1988, no. 148.
Film/Video Interface
by Geoffrey Shea. Cinema Canada, Feb. 1988, no. 149.
Video Tales
by Geoffrey Shea. Cinema Canada, Mar. 1987, no. 139.
Video Tales
by Geoffrey Shea. Cinema Canada, Sept. 1987, no. 144.
Film Reviews: Brenda Longfellow's Our Marilyn/Video Tales
by Cameron Bailey and Geoffrey Shea. Cinema Canada, 1987, no. 147.
Mini Reviews: Video Tales: Public Access and the Video-Wall Project
by Geoffrey Shea. Cinema Canada, 1987.
ART IS COMMUNICATIONS: On Curating This Videotex Exhibition
by Geoffrey Shea. Art is Communications, Nov. 15, 1985. Toronto: ASpace, 1985.
CONTEMPORARY ART AND TECHNOLOGY: The New Ecological Era
by Nancy Paterson. Art is Communications, Nov. 25, 1985. Toronto: Aspace, 1985.
(untitled)
Art is Communications, 1985. Toronto: United Media Arts Studies, 1985.
The New Work Show
by Victor Coleman. Vanguard, Nov. 1984, v. 13, no. 9.
The New Work Show
by B.D. Hershorn. Toronto: Litho Offset, 1984.