Plenty of Fish opens with James Knott’s shadow dramatically shaving off body hair behind a dimly lit partition to an assemblage of sounds. The West Side Story tune “I Feel Pretty” harmonizes with the clamouring of an electric razor, sheep shearing, and the buzz of a lawn mower. Meanwhile, the famously cinematic score from Alfred Hitchcock’s horror-thriller film Psycho resounds. The figure behind the divider seductively unravels a pair of stockings as Nina Simone’s The Other Woman melancholically lingers quietly in the background. Knott eventually emerges from behind the partition scantily dressed in vintage lingerie and dramatically falls down onto a duvet, while the dimly lit lamps conjure a lonely night time scene. The audience is in the bedroom now, and we find Knott waiting like a lonesome queen.
At the center of the frame, a white-frosted cake sits like a full moon on a dark wood table. Suzanne Kite drops her palms to either side of the orb, her red fingernails glinting up to the camera. “This performance is about death,” Kite warns her viewers before she commences a live-stream performance from her home in California.
A warm sensation arises inside of me as I step into the Joan Goldfarb Visual Arts Study Centre. Originally a storage space for artwork that has recently been converted into a small gallery as part of a pilot project, the space is small and cozy. The gallery is well-lit by large circular lights hanging from the ceiling, the light warm and soothing as opposed to glaring in the way white cube galleries sometimes are. There is an interplay between black and white in the space, the exterior wall on the left-hand side of the gallery is painted a matte black that instantly draws the eye. A rug on the floor and the comfortable-looking couch just off to the side serve as an invitation to linger, adding a sense of intimacy to the space.