A few images from Wave Her, a new zine I have coming out next month via Commune Press in Tokyo. I spent the remaining two months of my pregnancy working on these images, trying to digest the election and it’s results, grappling with ideas of the self and multiplicity while making a new life, collecting positivity and reflecting it into the world and harnessing creativity in a time of great flux. I’m pretty happy with how it turned out and excited to share more of it once it’s out there and existing in the world. It’s release will be taking place next month at the Melbourne Art Book Fair.

+ high-res version


Here this goes again, I’m waking this blog is being from a deep coma-like slumber, about two and a half weeks after having my second daughter in an attempt to host cravings, document creative ideas, grateful thoughts, inspirations and life in general through photos.  This year is already holding so many transitional space in such a multitude of ways,  I hope for this also to be a place of positive reminders, growth and grace. We’ll see where this goes.


fullsizerender-2And mostly this, nonstop, all day everyday. Because I can’t help staring, holding, snuggling.



A selection from my 366 Days series is currently being exhibited at ArtSpeak in Vancouver, BC, as part of the Sunbeams exhibition along with work by Shannon Bool, Heather Goodchild and Morgan Watt. So appreciative to be showing with such a strong group of artists in such a beautiful space.

Artspeak - Michelle Blade, Shannon Bool, Heather Goodchild, Morgan Watt - SunbeamsArtspeak - Michelle Blade, Shannon Bool, Heather Goodchild, Morgan Watt - Sunbeams

Artspeak - Michelle Blade, Shannon Bool, Heather Goodchild, Morgan Watt - Sunbeams

Artspeak - Michelle Blade, Shannon Bool, Heather Goodchild, Morgan Watt - Sunbeams

Artspeak - Michelle Blade, Shannon Bool, Heather Goodchild, Morgan Watt - Sunbeams


I had the pleasure of organizing a little shin-dig at the Launch For Hire Boat House in Inverness for Kelly and Collin’s co-ed Bachelor/ette Party. A magical day for a very epic couple.


The collaborative work of João Maria Gusmão + Pedro Paiva 

Seasoned Egg, 2013

Three albinos telling jokes at the fire, 2013

Flayed Animal, 2012

3 Suns, 2009
16mm film, colour, no sound, 0.50 min
Official Portuguese Representation of 53rd Venice Biennale, DGARTES, Ministry of Culture, Portugal

Fruit Polyhedron, 2009
35mm film transferred to 16mm, colour, no sound, 2.42 min
Produced by Inhotim Cultural Center, Minas Gerais, Brazil

Hand, smaller than hand, 2010
35mm film, colour, no sound, 1.48 min
Produced by Inhotim Cultural Center, Minas Gerais, Brazil

The horse of the prophet, 2011
16mm film, colour, no sound, 2.02 min
Produced by Frac Île-de-France/Le Plateau, Paris in collaboration with Lamu Palm Oil Factory, Kenya


The log enchanter, 2006
Film still Courtesy Institute of the Arts, Ministry of Culture Portugal

“Since 2001, João Maria Gusmão and Pedro Paiva have collaborated on the creation of enigmatic, lyrical photographs and sculptures, but most prominently they work in 16mm silent film. Through their investigations into the limits of scientific rationalism, they unfold what they have called ‘poetic philosophical fiction,’ suggesting that the world may not simply be more mysterious than it appears, but perhaps more inscrutable than we can even conceive. In the process of sketching their expanded view of reality, Gusmão and Paiva have studied an eclectic range of writers and philosophers, including Plato, Propertius, Jorge Luis Borges, Alfred Jarry, Victor Hugo, and René Daumal. Daumal, who seems to serve as their literary patron saint, was a precocious para-surrealist writer and poet whose allegorical novel of 1938, La grande beuverie (A Night of Serious Drinking), furnished Gusmão and Paiva with the neologism ‘abissology’ (the study of the abyss), which they have used to describe their practice of depicting the indiscernible.

In contrast to the dense thicket of literary and philosophical references that undergirds their inquires, Gusmão and Paiva’s films are spare and concise, and often solely comprise an isolated gesture or single allegorically charged vignette. Cowfish(2011), for instance, consists of a slowed shot of a live fish helplessly flapping its fins on a dinner plate, while 3 Suns (2009) presents a static shot of the ocean, seen from the inside of a cove, which has been superimposed in triple exposure so that three suns blaze in an arc. Other films like The Great Drinking Bout (2007), in which a group of men take part in a kind of ritual intoxication that leaves them in a state of blind ecstasy, have a more narrative bent, but nevertheless maintain a somewhat occult or mystical significance.” –La Biennale di Venezia

All Your Gold

fireworks3IMG_7339IMG_7251Andrew Berg / &PENS, Mt Washington, Hold Still/ Aaron King/ Underground Museum, Pinches Tacos, river bike path, celebration nights, CJ’s ceiling river

In Search of the Miraculous: Recent findings in the Los Angeles area under the super moon