Image from The Adventure's series

THe Adventures of Nar Duell in Second Life, 2010 - 2013comic book series of six, commercially printed edition of ninety-nine, extra large bound edition of ten

This body of work addresses and brings into question multiple realities and spaces: graphic novels, virtual worlds, and interpersonal relationships. In this series, I chronicle my real time interaction in the virtual community of Second Life in a 'comix' style treatment. I capture images of my virtual avatar, named Nar Duell, as she travels in the virtual world, and include images of my own photographic and sculptural work to further the narrative. Shopping in Second Life, also known as found object, movement and captured machinima, become principle strategy for art making and performance. The Adventures... uses multiple realities and zones to subvert any idea of place, culture, and even time. The series as a whole, toys with ideas of exclusion and loneliness in vast, real and virtual, constructed landscapes.

The translation of my virtual adventures into 'comix' style documentation is a natural expression of the experience of spending time in Second Life, as the superficial and arbitrary nature of virtual life is mirrored in the 'pow, bam, zap' aesthetic of the printed page. In these episodes, I engage with artifice in contemporary life by referencing virtual reality life, and build on stereotypes in order to create artificial, mediated virtual and real experiences that reflect aspects of our current social culture.

By taking on an avatar, I explore the narcissistic relationship that people often develop with the portraits they create or commission of themselves, whether static photograph or scripted avatar. The creation and relationship to one's avatar 'portrait' in Second Life is all encompassing. People lavish time and money in order to represent themselves, but the disconnect from reality is unavoidable as one interacts with this virtual space.
Comic Book Narratives

image from roadwork series

Roadwork, 2016 - ongoingphotographic series, edition of ten

Roadwork records the evidence of the hyperactive building boom in Toronto, Canada. It is also a record of both language and mapmaking. Though the marks on the street the builders and engineers understand what is going on under the ground below them and can navigate through the histories of building and development that had taken place previously. The marks are mysterious, lively, even beautiful, yet eminently practical and functional.

 

Image from Finding TrachHouse

Finding TrackHouse, 2009hybrid reality installation, performance, sculpture

Finding TrackHouse creates a new artistic forum in which artists and visitors share a role in navigating through its physical and non-physical spaces. In its installation at the Red Head Gallery, the exhibition offers an immersive simulation of the visual idioms of its innumerable domain counterparts: the PychedelicChick.com website, and Facebook profiles. Finding TrackHouse is projected and played in a mixed reality, a web-landscape that spans the gallery and the surface of multiple monitors. The work expands on Kim Mitseff’s ongoing TrackHouse, a virtual platform and event for creative, inventive and free minded thinkers. Together with Lynne Heller’s weaving of disparate iconic and conceptual elements, an intricate and dense set of narratives play within fields of psychedelic pattern, and aesthetic delight.
Press Release

 

 

Pushing Art, 2009installation, performance, sculpture

Lynne Heller’s mobile photographic sculpture Pushing Art brings virtual reality into live reality. In this installation, Heller integrates digital collage, comix style documentation and interactive performance as a means to break photographic norms, and push outside the static walls of the art gallery. Pushing Art is displayed in the evening out on Baldwin Street, in Toronto, Canada. The installation entails a machinima animation projected inside a sculptural rendition of a hot dog cart and newspaper stand. The position of the work outside literally makes it ‘outsider’ art. Heller pushes her art-cart to a local video store, restaurant, and record shop. While parked at these locations, the work emits an enticing colourful light.
Curator's Essay

 

Three Cloths, 2008floorcloth installation, video projection, ipod

Floorcloths, surfaced designed canvasses, traditionally used as floor coverings, reflect my ongoing attachment to the visual, particularly decorative domestic structures and imagery. This interest stems from the perpetual dialogue in the art world about alternate aesthetic practice and history, namely issues around feminism and the re-evaluation of what has been traditionally labeled women's work. I am making a series of floorcloths (domestic, functional objects) through a process of layering and melding, with paint and heat transferred imagery.
Project Statement