Geoffrey Farmer

Geoffrey Farmer

  • Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, 2013
    Computer generated algorithmic montage sequence
    Dimensions variable
    Installation view, Geoffrey Farmer, The Institute of Contemporary Art/Boston, 2016. Photo: Charles Mayer Photography
  • Boneyard, 2013
    Paper cutouts, wood, glue
    Dimensions variable
    Installation view, Geoffrey Farmer, The Institute of Contemporary Art/Boston, 2016. Photo: Charles Mayer Photography
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Installation view, The Grass and the Banana go for a walk, Catriona Jeffries, Vancouver, 2014
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    The Grass and the Banana, 2014
    Paint, foam, grass, metal stand
    Grass: 76 x 21 x 21 inches (193 x 53.5 x 53.5 cm)
    Banana: 67 x 12 x 12 inches (170 x 30.5 x 30.5 cm)
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Installation view, The Grass and the Banana go for a walk, Catriona Jeffries, Vancouver, 2014
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    This is where the plate goes. If you stare at it long enough it starts rotating to the right. I imagine the garden on the carpet doing the same. This makes it a planet. I am flying above the city, spinning. Then… the Baboon is, upset. He is picking at the post and his leathery bottom sits on the branch, which he has worn down. His tail hanging limply, not like a branch, more like a rope. Then the other monkeys, especially the young ones are saying, “share with me”! share with me! In the carpet you can see a plant with a huge eye, and if you stare long enough into it, the pot and the bird emerge.
    with As I imagined time-figure, foreseen in the opera just before the dancing spider leg (for Hannah) (Fountain), 2014
    Douglas Fir pole, 7 photos mounted on foamcore, plastic topiary, two wall facades on wood panel, paint, window, framed cut-outs and ink mounted on paper, sandbags
    Each pole approximately 200 inches (5 meters) tall
    Installation dimensions adjustable
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Good and Evil, 2014
    Decommissioned cedar telephone poles
    Chainsaw carving by Brigitte Lochhead, brick façade panel
    Evil: 82 x 14 x 13 inches (208 x 35.5 x 33 cm)
    Good: 77 x 15 x 14 inches (195.5 x 38 x 35.5 cm)
    Panel: 94 x 45 x 48 inches (239 x 114.5 x 122 cm)
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Journal
    with Norman Bates (Fountain), 2014
    Vitrine with eight cut-outs collaged on foamcore, framed cut-outs and ink mounted on paper, two wall façade wood panels, paint, window, sandbags
    Installation dimensions variable
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Installation view, The Grass and the Banana go for a walk, Catriona Jeffries, Vancouver, 2014
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Over, under, floating, rushing, with the delicate colour of violet. From curly hair grapes grow. This green belongs to the Arctic., 2014
    Douglas Fir pole, 5 photographs mounted on foamcore
    Approximately 200 inches (5 meters) tall
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Archaeology
    with Looking at a photograph of myself and realizing I had a potato instead of a head (Fountain), 2014
    Vitrine with cut-outs mounted on vertical clay slabs, four brick façade wood panels, paint, framed cut-out and ink mounted on paper, sandbags
    Installation dimensions variable
  • Geoffrey Farmer - The Grass and the Banana go for a walk
    Archaeology
    with Looking at a photograph of myself and realizing I had a potato instead of a head (Fountain), 2014
    Vitrine with cut-outs mounted on vertical clay slabs, four brick façade wood panels, paint, framed cut-out and ink mounted on paper, sandbags
    Installation dimensions variable
  • Geoffrey Farmer, Let's Make The Water Turn Black, 2013
    Let's Make The Water Turn Black, 2013
    Installation view, Migros Museum für Gegenwartskunst, 2013
    Photo: Stefan Altenburger, Zurich
  • Geoffrey Farmer, Let's Make The Water Turn Black, 2013
    Let's Make The Water Turn Black, 2013
    Installation view, Migros Museum für Gegenwartskunst, 2013
    Photo: Stefan Altenburger, Zurich
  • Geoffrey Farmer, Let's Make The Water Turn Black, 2013
    Let's Make The Water Turn Black, 2013
    Installation view, Migros Museum für Gegenwartskunst, 2013
    Photo: Stefan Altenburger, Zurich
  • Geoffrey Farmer, Let's Make The Water Turn Black, 2013
    Let's Make The Water Turn Black, 2013
    Installation view, Migros Museum für Gegenwartskunst, 2013
    Photo: Lorenzo Pusterla
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Alessandro Quisi
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Alessandro Quisi
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Jane Hobson
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Jane Hobson
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Jane Hobson
  • Geoffrey Farmer - The Barbican Centre - The Surgeon and the Photographer
    The Surgeon and the Photographer, 2009-2013
    Paper, textile, wood and metal
    Dimensions variable
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Alessandro Quisi
  • Geoffrey Farmer - The Barbican Centre - Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell
    Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, 2013
    Computer generated algorithmic montage sequence
    Commissioned by Barbican Art Gallery
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Alessandro Quisi
  • Geoffrey Farmer - The Barbican Centre - Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell
    Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, 2013
    Computer generated algorithmic montage sequence
    Commissioned by Barbican Art Gallery
    Installation view, The Curve Gallery, The Barbican Art Centre, London, 2013
    Photo: Alessandro Quisi
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Richard Kasiewicz
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Anders Sune Berg
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Anders Sune Berg
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Anders Sune Berg
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Anders Sune Berg
  • Leaves of Grass, 2012
    LIFE Magazines (1935–85), tall grass, wood, glue
    Dimensions variable
    Installation view, dOCUMENTA 13, Kassel, 2012
    Photo credit Rosa Maria Rühling.
  • Metal Will Stand Tall (A Single Image Is Not A Splendor), 2011
    Found metal, LIFE Magazine cutouts, rock, wire
    Dimensions variable
  • Metal Will Stand Tall (A Single Image Is Not A Splendor), 2011
    Found metal, LIFE Magazine cutouts, rock, wire
    Dimensions variable
  • Geoffrey Farmer
    Mondegreen (Collaboration with Jeremy Millar), 2011
    Variable components and dimensions
    Installation view, Mondegreen, Projects Art Centre, Dublin, 2011
  • Geoffrey Farmer
    Mondegreen (Collaboration with Jeremy Millar), 2011
    Variable components and dimensions
    Installation view, Mondegreen, Projects Art Centre, Dublin, 2011
  • Geoffrey Farmer
    Mondegreen (Collaboration with Jeremy Millar), 2011
    Variable components and dimensions
    Installation view, Mondegreen, Projects Art Centre, Dublin, 2011
  • Geoffrey Farmer
    Mondegreen (Collaboration with Jeremy Millar), 2011
    Variable components and dimensions
    Installation view, Mondegreen, Projects Art Centre, Dublin, 2011
  • Geoffrey Farmer
    Mondegreen (Collaboration with Jeremy Millar), 2011
    Variable components and dimensions
    Installation view, Mondegreen, Projects Art Centre, Dublin, 2011
  • Geoffrey Farmer
    Meditating ruminating cows. They contemplate the metamorphosis of the light from distant cosmic texture into the mater. But the cow did not keep this knowledge to herself. She delivers the benefits with her milk. (Zurich, Switzerland, in the Spring of 1919) from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    Meditating ruminating cows. They contemplate the metamorphosis of the light from distant cosmic texture into the mater. But the cow did not keep this knowledge to herself. She delivers the benefits with her milk. (Zurich, Switzerland, in the Spring of 1919) from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    If You Want To See Something Look At Something Else.
    (Allen Ginsberg, 1926-1997)
    from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    If You Want To See Something Look At Something Else.
    (Allen Ginsberg, 1926-1997)
    from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    If You Want To See Something Look At Something Else.
    (Allen Ginsberg, 1926-1997)
    from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    Imagine the Phoenix Bookstore.
    (Terrence McKenna, 1992)
    from The Invisible Worm That Flies In The Night., 2011
    Variable components and dimensions
  • Geoffrey Farmer
    Let’s Make The Water Turn Black, 2010-2011
    Mixed media installation
    Stage dimensions: 289 x 360 x 90 inches (734 x 914 x 229 cm)
    Installation view, REDCAT, Los Angeles
  • Geoffrey Farmer
    Let’s Make The Water Turn Black, 2010-2011
    Mixed media installation
    Stage dimensions: 289 x 360 x 90 inches (734 x 914 x 229 cm)
    Installation view, REDCAT, Los Angeles
  • Geoffrey Farmer
    Let’s Make The Water Turn Black, 2010-2011
    Mixed media installation
    Stage dimensions: 289 x 360 x 90 inches (734 x 914 x 229 cm)
    Installation view, REDCAT, Los Angeles
  • Geoffrey Farmer
    Let’s Make The Water Turn Black, 2010-2011
    Mixed media installation
    Stage dimensions: 289 x 360 x 90 inches (734 x 914 x 229 cm)
    Installation view, REDCAT, Los Angeles
  • Geoffrey Farmer
    Let’s Make The Water Turn Black, 2010-2011
    Mixed media installation
    Stage dimensions: 289 x 360 x 90 inches (734 x 914 x 229 cm)
    Installation view, REDCAT, Los Angeles
  • Geoffrey Farmer
    God’s Dice, 2010
    Variable components and dimensions
    Installation view Walter Phillips Gallery, Banff
  • Geoffrey Farmer
    God’s Dice, 2010
    Variable components and dimensions
    Installation view Walter Phillips Gallery, Banff
  • Geoffrey Farmer
    God’s Dice, 2010
    Variable components and dimensions
    Installation view Walter Phillips Gallery, Banff
  • Geoffrey Farmer
    God’s Dice, 2010
    Variable components and dimensions
    Installation view Walter Phillips Gallery, Banff
  • Geoffrey Farmer
    The Vampire of Coyoacan, 2010
    Variable components and dimensions
    Installation view, Museo Experimental El Eco, Mexico City
  • Geoffrey Farmer
    The Vampire of Coyoacan, 2010
    Variable components and dimensions
    Installation view, Museo Experimental El Eco, Mexico City
  • Geoffrey Farmer
    The Vampire of Coyoacan, 2010
    Variable components and dimensions
    Installation view, Museo Experimental El Eco, Mexico City
  • Geoffrey Farmer
    The Vampire of Coyoacan, 2010
    Variable components and dimensions
    Installation view, Museo Experimental El Eco, Mexico City
  • Geoffrey Farmer
    The Vampire of Coyoacan, 2010
    Variable components and dimensions
    Installation view, Museo Experimental El Eco, Mexico City
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    The Surgeon and the Photographer, 2009
    365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
    Each figure approximately: 17 3/4 x 5 x 5 inches (45 x 13 x 13 cm)
  • Geoffrey Farmer
    Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell ... (Clock), 2010
    Projection: computer controlled montage with sound. Source: Life Magazine 1938–1986
    Dimensions variable
  • Geoffrey Farmer
    I know why no one smiled at me at Schiphol Internation Airport detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    I know what it is like to fall detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    Cloud Haters and Dutch Factories detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    The fuller sense of self obtained when the self is aware of itself in relation to another self, tomb detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    Cloud Haters and Dutch Factories detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    I know why no one smiled at me at Schiphol Internation Airport detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    The sense of momentum which occurs when you travel a great distance to create something unresolved only to find the universe splitting open in its resolution, theater detail from Forgetting Air (Slow Play), 2008
    767 Fuselage, airplane seats, wooden chairs, pillows, wooden stage, sound system, lights, mirrors, drums, feathers, fabric, costumes, blankets, towel, shoes, string, eggs, tape, projector, video monitors, various display cases.
    Dimensions variable
    Installation view, Witte de With, Rotterdam, 2008
  • Geoffrey Farmer
    I'm Not Praying I'm Just Stretching, 2008-2009
    Candle Snuffer; abandoned Quaker style chair, taken from the streets of Boston; book: Among The Night People by Clara D. Pierson borrowed from the Library of The Beacon Hill Friends House; photograph, The Human Liberty Bell, 1918; branch from the Boston Commons from a tree used for public hangings; light socket with the embossed words Proclaim Liberty Throughout The Land; found bell inscribed with the date 1991; a bell clapper/moth feeder made from a cotton ball soaked in a solution of sugar derived from a candy taken from a Felix Gonzales-Torres work; drinking glass; vase; antique bottle; with lights; various notes.
    Dimensions variable
  • Geoffrey Farmer
    I'm Not Praying I'm Just Stretching, 2008-2009
    Candle Snuffer; abandoned Quaker style chair, taken from the streets of Boston; book: Among The Night People by Clara D. Pierson borrowed from the Library of The Beacon Hill Friends House; photograph, The Human Liberty Bell, 1918; branch from the Boston Commons from a tree used for public hangings; light socket with the embossed words Proclaim Liberty Throughout The Land; found bell inscribed with the date 1991; a bell clapper/moth feeder made from a cotton ball soaked in a solution of sugar derived from a candy taken from a Felix Gonzales-Torres work; drinking glass; vase; antique bottle; with lights; various notes.
    Dimensions variable
  • Geoffrey Farmer
    I'm Not Praying I'm Just Stretching, 2008-2009
    Candle Snuffer; abandoned Quaker style chair, taken from the streets of Boston; book: Among The Night People by Clara D. Pierson borrowed from the Library of The Beacon Hill Friends House; photograph, The Human Liberty Bell, 1918; branch from the Boston Commons from a tree used for public hangings; light socket with the embossed words Proclaim Liberty Throughout The Land; found bell inscribed with the date 1991; a bell clapper/moth feeder made from a cotton ball soaked in a solution of sugar derived from a candy taken from a Felix Gonzales-Torres work; drinking glass; vase; antique bottle; with lights; various notes.
    Dimensions variable
  • Geoffrey Farmer
    And Finally The Street Becomes The Main Character (Clock), 2005-2008
    Wooden platform, Mac mini, computer monitor, keyboard, mouse, Mini 8 channel mixing deck, cables, 7 speakers, subwoofer, various sculptural components, five works on paper
    Dimensions variable
  • Geoffrey Farmer
    And Finally The Street Becomes The Main Character (Clock), 2005-2008
    Wooden platform, Mac mini, computer monitor, keyboard, mouse, Mini 8 channel mixing deck, cables, 7 speakers, subwoofer, various sculptural components, five works on paper
    Dimensions variable
  • Geoffrey Farmer
    And Finally The Street Becomes The Main Character (Clock), 2005-2008
    Wooden platform, Mac mini, computer monitor, keyboard, mouse, Mini 8 channel mixing deck, cables, 7 speakers, subwoofer, various sculptural components, five works on paper
    Dimensions variable
  • Geoffrey Farmer
    The Fountain People, 2008
    Video projection, 10 min loop, hand written letter/ text on paper, painting
    Dimensions variable
  • Geoffrey Farmer
    The Fountain People, 2008
    Video projection, 10 min loop, hand written letter/ text on paper, painting
    Dimensions variable
  • Geoffrey Farmer
    Theatre of Cruelty, 2008
    Props, found objects, fabric, computer controlled LED lighting system, speakers, and framed photographs
    Dimensions variable
  • Geoffrey Farmer
    Theatre of Cruelty, 2008
    Props, found objects, fabric, computer controlled LED lighting system, speakers, and framed photographs
    Dimensions variable
  • Geoffrey Farmer
    Theatre of Cruelty, 2008
    Props, found objects, fabric, computer controlled LED lighting system, speakers, and framed photographs
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    The Last Two Million Years, 2007
    Foamcore plinths, perspex frames and cutouts from selected pages of the history-book The Last Two Million Years
    Dimensions variable
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto
  • Geoffrey Farmer
    A Pale Fire Freedom Machine, 2005
    Variable components and dimensions
    Installation view, The Power Plant, Toronto