Artist

Su Rynard

Su Rynard (b.1961 – Toronto, Canada)

From early video art to recent feature films, Rynard has worked across a range of approaches: dramatic, experimental, documentary and installation.


Early video art was exhibited at The Museum of Modern Art in New York, “New Canadian Narratives” 1988 and “Video and Myth” 1990. At The National Gallery of Canada she exhibited work in “Rebel Girls” 1990 and “Science Series” 1999. Her recent dual screen film “As Soon As Weather Will Permit” debuted in 2014 in Toronto at V/Tape Events.

Su Rynard’s films have screened in film festivals around the globe and have garnered multiple awards including; the Nature People's Choice Award at New York’s Imagine Science Film Festival (2015) for “As Soon As Weather Will Permit”. Her recent documentary, “The Messenger” won Best Conservation Film at the Jackson Hole Film Festival in the USA and the Top Ten Audience Award at Hot Docs in Toronto. In 2006 Su Rynard’s art house fiction film “Kardia” was awarded the prestigious Alfred P. Sloan Award Feature Film Prize. In 2005, “Bug Girl” won the Creative Vision Award at the Earth Dance Film Festival and “Signal” was awarded Best Short Film at the Cabbagetown Film and Video Festival in 1993.

Su Rynard was born on the Downsview Airforce Base where her father was stationed, a world apart from the city of Toronto surrounding her. She received an entrance scholarship to York University, and was awarded the George A. Reid Scholarship and the Melvile P. White Scholarship before graduating with honours from the Ontario College of Art. She was one of ten directors from across Canada invited to take part in the directors residency at the Canadian Film Centre in 1996.

Rynard recently created a five part web-series “Don’t Blink” (2018) and an interactive web experience “SoloForDuet.ca” featuring Canadian pianist Eve Egoyan. Her interest in science, ecology and the human relationship with the natural world has informed and inspired her recent work.  An in depth discussion of her work is featured in Mike Hoolboom’s 2008 book “Practical Dreamers: Conversations with Movie Artists” published by Coach House Books.

Videography

Études for Augmented Piano

2021, 13:00 minutes

Goldilocks

2020, 07:00 minutes, English subtitles

Duet for Solo Piano

2020, 68:00 minutes, colour

As Soon As Weather Will Permit

2014, 15:00 minutes, colour, English

Coronation Park

2009, 01:20 minutes, colour

Apples (malus domestica) 2 Channel Installation

2009, 06:45 minutes, colour, English

BEAR

2004, 09:15 minutes, Colour, English

BUG GIRL

2003, 05:47 minutes, Colour, English

The Day Jesus Melted

1999, 03:15 minutes, colour, English / French subtitles

Strands

1997, 22:00 minutes, colour, English

Eight Men Called Eugene

1996, 12:00 minutes, colour, English

Sexual Healing

1995, 24:17 minutes, colour, English

Signal

1993, 03:00 minutes, colour, English

What Wants To Be Spoken, What Remains To Be Said

1992, 25:00 minutes, colour, English

Voleur (Le)

1989, 04:30 minutes, Colour, French

(nineteen thirty-two) 1932

1988, 09:00 minutes, colour, English, Hungarian

Greatest Thing, The

1987, 01:00 minutes, colour, English

Within Dialogue (Silence)

1987, 05:40 minutes, colour, English

Absence

1986, 05:30 minutes, colour, English

Untitled - A Tape About Memory

1985, 04:00 minutes, colour, English

Phases

1984, 05:00 minutes, colour, English

Critical Writing

The Lingering Present: Canadian Video Art in its Youth: 1968-1986
by Lisa Steele. Analogue, 2006. Preston: Electronic and Digital Art Unit, 2006.
Wild wild west end: Parkdale film festival REHAB gives independent...
by Kim Linekin. EYE WEEKLY, June 13, 2002, v. 11, no. 36.
North by northwest film festival review: Rock 'n' reel
by Ingrid Randoja. Now, June 6, 2002, v. 21, no. 39.
Fringe Experientiality
by James Missen. Public, 2002, v. 25.
In situ
by Melina Clifford and Gaetane Verna.
reVISION99
by Nina Czegledy. WRO 99, 1999. Wroclaw: WRO 99, 1999.
Canadian Currents
Canadian Currents, 1999. Toronto: Absolute Choice Curatorial Collective, 1999.
Some Toronto Video: My work is not designed for a large audience...
by Su Rynard. Composition, Dec. 1996, v. 1, no. 3.
Some Toronto Video: My work is not designed for a large audience...
Artists' Video From Canada, 1995. Bologna, Milano: The Link & Invideo, 1995.
Mirror Machine: Video and Identity
by Janine Marchessault. YYZ Books, McGill University, 1995.
Review of Ethel on Fire: What Wants to be Spoken, What Remains to...
by Pam Patterson. Ontario Institute for Studies in Education (Toronto), 1994, v. 21, no. 3/4.
Subjects on the Threshold: Problems with the Pronouns
by Renee Baert. Parachute, Winter 1993, no. 69.
Vista: Video by Canadian Women Artists
by Nina Czegledy. Toronto: N/A, 1990.
Images '89
by Donna Lypchuk. Cinema Canada, Sept. 1989.
Separate Voices
by Peggy Gale. Separate Voices, 1989. The Third Fukui International Video Biennale, 1989.
Individuals: New Video From Canada
by Peggy Gale. Aspetti e Tendenze della Ricerca Video Canadese, 1989. Ferrara: Ferrara: Centro Video Arte, 1989.
Bad Acting: Performing and Characterization on Screen
by Sara Diamond and Gary Kibbins. Trade initiatives; 3 programmes of Canadian video, 1988. Vancouver: Satelite Video Exchange Society, 1988.
Video Tales
by Geoffrey Shea. Cinema Canada, Sept. 1987, no. 144.
Four Redheads: Four New Toronto Videotapes
by Andrew J. Paterson. Fuse, July 23 Fall, 1987, v. 11, no. 3.
The 1986 New Work Show
by Geoffery Shea. Cinema Canada, Nov. 1986.
New Tapes
by Brendan Cotter and Kim Tomczak. Video News, 1986.
Ethel on Fire, What Wants to Be Spoken, What Remains To Be Said
by Pam Patterson. RFR, Aug. 18, v. 21, no. 3/4.