Performances for Hearing Voices engage the body with sculpture through basic acts of labour (walking, carrying, holding, lifting, pushing and pulling) in everyday public places.  Performances are focused on encounters with people and places, without pre-planned spectatorship and take place in general areas (neighbourhoods) in villages, towns, and cities on Vancouver Island.  If you are out and about for a walk, errands, or other daily events, you may see me engaged with sculpture in your area.  Dates and general locations of performances are posted below.
Performances in each location have been made possible with the support of inspiring galleries and residencies on Vancouver Island including Legacy Art Gallery, Comox Valley Art Gallery, The Sointula Art Shed.  Hearing Voices is generously supported by the Canada Council for the Arts.
February 20, 2021 - Lekwungen Territories (Downtown, Victoria, BC)
February 27, 2021 - Lekwungen Territories (Downtown & North Park Victoria, BC)
March 6, 2021 - Lekwungen Territories (Downtown & James Bay, Victoria, BC)
October 31, 2021 - Lekwungen Territories (Vic West, BC)
November ​26, 2021 - Kwakwakw'akw Territories (Sointula, BC) 
November ​29, 2021 - Kwakwakw'akw Territories (Sointula, BC) ​
December 2, 2021 - Ligwiłda’xw Territories (Campbell River, BC)    
December 20, 2021 - K'ómoks Territories (Courtenay, BC)
December 21, 2021 - K'ómoks Territories (Cumberland, BC)
We respectfully acknowledge the Indigenous Communities and Nations in whose territories we live and work.  Peoples whose historical relationships with the land and influence on languages, and cultures continue to this day: the Xwspesum (Esquimalt) and Lkwungen (Songhees), WSANEC (Malahat, Pauquachin, Tsartlip, Tsawout, Tseycum), Quw'utsun (Cowichan), K'ómoks, Kwakwakw'akw and Ligwiłda’xw Nations.
Connie Michele Morey's studio practice explores the experience of home as ecological interdependence. Through site-specific performance, and participatory sculptures documented through photography and video, her work questions the relationships between ecology, displacement and belonging. Connie's studio practice is influenced by childhood experiences living rurally off the land, while being surrounded by family traditions of masonry, construction and textiles. Her family history interweaves settler and Indigenous identities (Scottish, Scandinavian and Anishinaabe), and her studies in sculpture, ecology, philosophy and decolonial studies have impacted her interest in the politics of displacement. She holds a BFA in Visual Arts from the University of Lethbridge, an M.Ed. in Art Education and a Studio-Based PhD from the University of Victoria. She currently lives as an uninvited guest on the unceded territories of the Xwsepsum (Esquimalt) and Lkwungen (Songhees) Peoples where she also teaches Drawing, Sculpture, and Community Art at the University of Victoria and Camosun College.
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We acknowledge the support of the Canada Council for the Arts