Their numbers multiply in a dense swarm as they gather toward the darkened end of the structure. Enticed into the night to become momentarily consumed by it, the viewer moves forward to explore two inner structures filled with strange beings that inhabit scenes of transformation: images of winged, part-human creatures silhouetted against the blue-tinted surfaces. Sound and video projection are used to enhance the spatial quality of the installation, activating the entire exhibition space. Research for Tracing Night was instigated by the artist's interest in childhood wonder and fear of night. In darkness, details are lost and solid forms seem to give way to ephemeral, hard-to-define shapes. In this state, senses appear to sharpen, yet physical perceptions succumb to wild imagination.

When darkness advances or descends, the usual human response is to seek shelter and refuge. In this work, darkness and night are used to explore ways in which fears are confronted and overcome. Referring to the picture stories of night scenes by Inuit artist Irene Avaalaaqiaq, Pien observes that human beings overcome their fear of night and the evils and dangers that reside in it by transforming themselves into animals. Vulnerable humans, endowed with animal spirit and power, attain the means to better confront, negotiate or escape a potentially threatening situation.

/Gail Tuttle

St. Mary's U Art Gallery, Halifax, 2004. Rodman Hall, St. Catharines, 2006

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