Pam Hall is an interdisciplinary artist working across, and sometimes in between, the boundaries of medium and discipline.

Showing from

Artwork

Re-seeding the Dream East

2017. The second iteration of Re-Seeding the Dream took place in Port Rexton, Newfoundland, and was part of the inaugural Bonavista Biennale.

The Knowledge Exchange

2017. Hall undertook a community residency on site in Keels, to engage directly with visitors and community members in gathering and revealing local knowledge from the region.

Small Gestures

2009–ongoing. A daily practice in which Hall reminds herself to be attentive, awake, and mindful as she begins each day. Each gesture is photographed and shared with friends on Facebook.

HomeWork: Doing the Math

2015. Using long commercial aprons, Hall inscribed the working hours of audience members who added up the hours they spent on ordinary “housework”.

HouseWork(s)

2014. Work from the past decade of Hall's practice, bringing solitary and private practices into conversation with collaborative and public projects.

Building a Village

2013–2017. Inviting participants to mark and manipulate a small folding paper house and then return it to her through the mail, Hall sent out over 400 paper houses to countries all over the world.

Marginalia

2004–2010. Marginalia is a collaboration / correspondence / conversation between Pam Hall and Margaret Dragu, two artists on opposite coasts of Canada.

Re-seeding the Dream

1997–1998. Hall "sowed" a field of winter wheat with emblems of sustenance – protein meeting protein – evidence of more labour than her own.

Fragments from the Inshore Archives

1997–1998. A mixed media collection of "pages" and objects, located in the in the Historic Ryan Premises of the Community Museum in Bonavista.

Just Fish

1997. A 12 panel series of digital images based on conversations with inshore fishermen in Newfoundland and Haida Qwai.

New Readings in Female Anatomy

1995–2001. A large and layered installation representing 6 years of work, which opened at the AGNL in St. John's in 2001.

Cultural Forensics

1994–2007. These works are both a conversation with Hall's own history in the fishery and an exploration of the power of memory – to wound and to heal.

The Coil: A History in Four Parts

1988–1993. The Coil began her life as a cod-trap – a fishing net which had hauled thousands of pounds of fish ashore, and was beyond mending.

Vessels

1989–1991. These drawings investigate the humble trap skiff and its transformative power.

Shedding of Skins

1991. A series of drawings and paintings responding to tensions between the inshore small-boat fishery and the big high-technology offshore fleet.

Objects from the Wharf

1991. Hall's continuing explorations with fishing and its tools led her to create this series of drawings of single objects.

History Books and Travel Notes

1993 and 2005. Two series of bookworks constructed from old artworks, hand-made paper, and small scraps of beach detritus.

Path to the Wishing Place

1988–1989. In the summer of 1988, Hall installed her first site-specific landwork as part of The International Sound Symposium.

Sticks and Stones

1988. An encounter alone in an empty landscape, in the winter of 1988.

Worshipping the Stone

1985-1987. In 1985, Hall returned to Northern Scotland to develop a body of work investigating the sacred stone sites of the region and speculating on the power of stone and the places it marked.

Books & Talks

Go Fish

2003. A presentation examining the Canadian inshore fisheries crisis from the personal perspective of more than 15 years of creative work in this area.

Film

Film (as Production Designer)

1987–present. Hall has worked as an Art Director and Production Designer on feature films, television dramas, and mini-series.

Film (as Artist-Filmmaker)

1994 and 2000. Information about "Mending the Invisible Wound" and "Under the Knife: personal hystories".