The built environment is an integral part of our everyday lives, yet provisional sites of construction and demolition surround us.  We live in a culture where buildings are torn down and built up again so quickly, so thoughtlessly, what then is our relationship to place and identity?  In the exhibition at Skew Gallery, I am exhibiting prints that I made in fall 2004 at the Banff Centre, during the   Informal Architecture residency.  Taking inspiration from the heightened drama of film noir and Andy Warhol's electric chairs, this work explores the landscape of urban construction sites.   In these prints, early stages of the building process are likened to images of dense forests, electrified cages, and dark reflecting pools.    I am interested in the state of free association one can experience during the construction process; for example, before the insulation or dry wall goes up, one can literally run through the walls, swing on the support beams, and watch the snow melt in the centre of the building.    You can be anything, anywhere.  In the silkscreen print   Forest , for example, a grainy and dense collection of metal studs appears like a stoic, never-ending forest.  Here, the viewer is presented with an ominous image that appears both natural and unnatural.   I am interested in the cycle between incomplete and complete, chaos and order; the in-between spaces where one can invent and insert all sorts of alternatives to the banal.