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	<title>Alli Melanson</title>
	<link>https://allimelanson.com</link>
	<description>Alli Melanson</description>
	<pubDate>Thu, 12 Feb 2026 20:48:49 +0000</pubDate>
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		<title>Home Image Scroll</title>
				
		<link>https://allimelanson.com/Home-Image-Scroll</link>

		<pubDate>Wed, 27 Nov 2019 20:10:16 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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		<description>ALLI MELANSON</description>
		
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		<title>WINTERFILM</title>
				
		<link>https://allimelanson.com/WINTERFILM</link>

		<pubDate>Thu, 12 Feb 2026 20:48:49 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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Winter film program
Chris Andrews
MontréalCarmen-Sibha Keiso &#38;amp; Alli Melanson
14.1.2026 - 25.1.2026
In One Foot in Front of the Other, 2024-2026, Alli Melanson revisits material taken during her time walking the Camino de Santiago. The footage was taken about halfway through the walk in a hostel lounge area with couches where guests would gather, where she quietly documents two people – one trying to relieve the pain of the other from injuries incurred while walking. They appear to be strangers, their timid conversation playing out across subtitles, as they negotiate with one another asking more or less, "does this hurt?". Melanson’s somewhat voyeuristic position is partially eclipsed by a pair of feet that do their own kind of dance, progressively relaxing into sleep. The videos are refilmed with a phone camera horizontally, creating another layer of removal and duplicating her point-of-view, this time from inside her bedroom a year and a half later.&#38;nbsp;Text by Chris Andrews












One Foot in Front of the Other. Digital video. 16:07 min.2024-2026.





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		<title>DREAMACHINE</title>
				
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		<pubDate>Fri, 28 Nov 2025 00:40:13 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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Dreamachine
Pangée
MontréalJackson Slattery &#38;amp; Alli Melanson
13.11.2025 - 20.12.2025

Shall I read the one which is here? The text?&#38;nbsp; It starts with two or more independent.



Here we go. Three, two, one. Two or more independent autonomous oscillators with differing rhythms or frequencies when situated in proximity where they can interact-

Sorry, can you start again from situated? Yeah. Situated in proximity where they can interact for long enough, influence each other mutually.

New sentence. They adjust until both oscillate with the same frequency. Christiaan Huygens discovered the phenomenon in 1655 during an experiment with pendulum clocks: He set them each in motion and found that when he returned the next day, the sway of their pendulums had all synchronized. Other examples include the cyclic synchronization of two electric clothes dryers placed in close proximity and the biological entrainment evident in the synchronized illumination of fireflies.

One second. Can you read from entrainment of synchronized, that part? I think close proximity was the last word.

And the biological entrainment evident in the synchronized illumination of fireflies.

Synchronized fireflies. Okay. New paragraph.

The term entrainment has been used to describe a shared tendency of many physical and biological systems to synchronize their periodicity and rhythm through interaction.

This tendency is specifically pertinent to the study of sound and music. The most familiar example of neuromotor entrainment to acoustic stimuli is observable in spontaneous foot or finger tapping to the rhythmic beat of a song.

That's the end of the paragraph. So there's three paragraphs to go.

Brain wave entrainment is a term used to denote the way in which the aggregate frequency of oscillations produced by the synchronous electrical activity in ensembles of cortical neurons can adjust to synchronize with the periodic vibration of external stimuli such as a regularly repeating pattern of intermittent sounds perceived as rhythm or of a flashing light. Light flashing. Light flashing on the eye between 8 and 13 flashes per second induces alpha wave activity in the brain - a state in which people are susceptible to suggestion but which is also associated with dreaming.

New paragraph. Experiments with flickering lights were conducted in the 1940s by William Grey Walter who used high-powered stroboscopes and trigger feedback techniques where flashes synchronized with the brain's rhythms to temporarily, and then this is in quotes, transform a brain into a different sort of brain. End quote. Walter found that time itself could become lost or disturbed. He observed of one subject, quote, he had the sense of having been pushed sideways in time by flicker. Full stop. Yesterday was no longer behind and tomorrow was no longer ahead.

Okay, new paragraph. In 1959, Brion Gysin and Ian Somerville invented the dream machine, a stroboscopic flickering light device that produces visual stimuli.

Wait a sec. Can you start back from stroboscopic? Yes. Stroboscopic flickering light art device that produces visual stimuli described as, quote, the first art object to be seen with the eyes closed, end quote, and intended to affect the viewer's brain alpha wave activity. Users often report seeing shapes and colors. Some have full blown hallucinations, others mystical experiences. This effect may sometimes be quite intense but to escape from it, one only needs to open one's eyes.

Last paragraph. The mind machine stuff is super interesting in relation to early techno slash rave culture. Not only the skill of syncing two tracks on analog systems, as mentioned in the brain entrainment.

Wait, techno rave culture. Syncing two tracks on analog… Not only the skill of syncing two tracks on analog systems, as mentioned in the brain entrainment, but also in the stroboscopic. Strobe lights were, in my opinion, the most important / effective visual aid to electronic music and ecstasy, a perfect trifecta.

Wait, wait, wait, strobe lights were, in my opinion, the most important slash effective? Yeah, slash important slash effective visual aid to electronic music. Electronic music. And ecstasy, a perfect trifecta.

Even that phrase altered states of consciousness and versions of it was so prevalent in early rave culture, whether emblazoned on flyers, literally repeated in tracks, etc. The first track, the first track, the first techno track that I ever took notice of was Higher State of Consciousness by Josh Wink in 1995.

Stream of Life 4. Livestream projection of the Matisse Hall at the State Hermitage Museum in Saint Petersburg, set in front of Dance and Music. Dimensions variable. 2025.Motion Picture (Twisting Wheel of Life).&#38;nbsp;Digital print in found frames. 118 x 13.25 in. 2024.
Privacy Screen Oscillator (1-23). 23 1-hour videos, 1 for each day of the exhibiton, looped. Site specific installation, dimensions variable. 2025.The World Spins (from the original motion picture soundtrack of Robert Altman's 2003 film The Company).&#38;nbsp;Digital print in custom aluminum frame with Preservation Clear UV 99, Artglass UV 99 and Artglass AR 70. Frame design by Andrew Hoekstra. 36 x 24 in. 2025.





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		<title>TWINFLAME</title>
				
		<link>https://allimelanson.com/TWINFLAME</link>

		<pubDate>Fri, 28 Nov 2025 00:01:05 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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Twin Flame

Café le Bailly
Paris
curated by Liza Lacroix and Philipp Farra
with works by sgp, Philipp Farra, Vijay Masharani and Niclas Riepshoff.
23.10.2025 - 24.10.2025

Search and Destroy. Looped video projection, color, sound. 5:30. 2025.





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		<title>MONOMANIA</title>
				
		<link>https://allimelanson.com/MONOMANIA</link>

		<pubDate>Mon, 01 Dec 2025 17:17:47 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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Mono Mania
Shmorevaz/Bar Le Scott

Paris
organized by Bonny Poon and Juliette Desorgues
with works by Zoe Barca, Lauren Burns-Coady, Marie Karlberg, Morag Keil, Liza Lacroix, Phung-tien Phan, Brittany Shepherd, Erwan Sene, Richard Sides and Ang Ziqi Zhang.
20.10.2025 - 25.10.2025
Blue Redhead. Digital print on clear film, edition of 2. Site specific installation. 126 x 55.5 cm. 2025.

Blue Redhead (sized). Digital print on clear film. 64.5 x 64.5 cm. 2025.

</description>
		
	</item>
		
		
	<item>
		<title>BULLDOG</title>
				
		<link>https://allimelanson.com/BULLDOG</link>

		<pubDate>Thu, 27 Nov 2025 23:24:38 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

		<guid isPermaLink="true">https://allimelanson.com/BULLDOG</guid>

		<description>

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Bulldog Video Blog
an International Video Art Invitational
Bulldog Pub
Pittsburg
organized by april april
with works selected by april april, Chris Andrews, Galerie Quynh, LC Queisser, Petra Bibeau, Romance, Tatsuro Kishimoto, u’s and Veronica.
15.10.2025

Stream of Life 3. Screen recording of a livestream of a watering hole in the Namib Desert. 28:21. 2025.





</description>
		
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	<item>
		<title>CESSATION</title>
				
		<link>https://allimelanson.com/CESSATION</link>

		<pubDate>Thu, 27 Nov 2025 22:51:48 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

		<guid isPermaLink="true">https://allimelanson.com/CESSATION</guid>

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CessationParent Company Gallery

New York
curated by Craig Jun Li
with works by&#38;nbsp;Becca Albee, Zaid Arshad, Cooper Campbell, Bruce Cratsley, Joey Gonnella, Ben K. Voss, Luca Klauba, Coco Klockner, Emily Leach, Dave McKenzie, Alli Melanson, David Nelson, Brianna Perry, sgp, Andréa Spartà, Gwenn Thomas, Midge Wattles, William Wiebe
18.09.2025 - 08.11.2025

Untitled (Accidental Camera Obscura 8). Digital print and artist frame. 11 x 14 in. 2024
Untitled (Accidental Camera Obscura 2). Digital print and artist frame. 10 x 14 in. 2024.
Untitled (Accidental Camera Obscura 5). Digital pring and artist frame. 16 x 14 in. 2024.




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	<item>
		<title>M</title>
				
		<link>https://allimelanson.com/M</link>

		<pubDate>Thu, 27 Nov 2025 22:30:38 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

		<guid isPermaLink="true">https://allimelanson.com/M</guid>

		<description>

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Moxfordberlin
Berlin02.05.2025 - 01.06.2025


Uranium glass plate, black light, power bank, nails. 59.9 x 40 cm

Digital print. 29.7 x 42 cm

The glass plate remained in place for 10 days, until, as forewarned, it disappeared. Its anonymous removal/destruction was marked by a stock image of a splattered blueberie pie hung in its stead.

</description>
		
	</item>
		
		
	<item>
		<title>BIZARRE OBJECTS</title>
				
		<link>https://allimelanson.com/BIZARRE-OBJECTS</link>

		<pubDate>Wed, 16 Apr 2025 16:35:47 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

		<guid isPermaLink="true">https://allimelanson.com/BIZARRE-OBJECTS</guid>

		<description>

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Bizarre Objectscity
Glasgow
22.03.2025 - 06.04.2025

I would never go again. No way. And I would definitely not recommend it. So not to my taste. No. Like I wouldn't tell someone, “oh go to Glasgow, go see this show”. No. You feel you could be anywhere. You could be anywhere. Yeah, it has nothing to do with Glasgow. Irrelevant to The City. I guess in a way Glasgow was a working industrial city. That would be the only sort of relationship that I could attribute to that. Yeah. The slight talk about Communism and the Soviet Union- I mean that’s the context, isn't it? Yeah, that is. I don't think that like- it's the context but if you don't know much about it, it's also okay. There was definitely a narrative. The puppets are meant to be telling a story but I couldn't get it. Yeah, it can be anything. You could attribute many things to it. First impressions are that all these works are about labor- a lot of working, a lot of working little men turning wheels, making things happen. A lot of bells, a lot of clocks, so it’s giving like “Industrial Revolution”. Time’s ticking, gotta go to work, burn the coal. Manual, like manual labor. Very manly, lots of penises. So many penises. And the general movement of the whole thing is sort of back and forth or like round and round in this like-Yeah, very sensual.&#38;nbsp;Oh, sensual though, doesn't… I don't feel like it's worthy of the word sensual. More like erect. I don't know how to explain it. Erect. And like, jerky. Yeah, very jerky, very erect and hard things, you know. Chains, metal, wheels. Cogs. A lot of repurposed toys. Everything seemed recycled. They feel like adult toys. Not in a sexual way, just like men who are bored.The whole thing is guided by a recorded voice with a sort of Scottish accent. Was it? It was an accent. It was a Scottish accent. It wasn't a regular...it wasn't like... an American one. No, it wasn’t American. But it wasn't Russian either. Why would it be...I just feel like it was... There was a sort of accent, but it wasn't Russian. No, it isn’t Russian.
It's meant to be this immersive experience, but it's not immersive at all. It's a carpeted room with dividing white walls... It's like a rural, kind of basic gallery museum. Like it's not DIY, but this funding they're getting, it's not going to the location. It's institutional in a way that is very... janky, a bit shonky. Oh, like school. Yeah, like school. And it's just like a gallery space. It's not a theater. You know when you go to class in elementary school and there's a science fair and then you walk around all the different experiments? That's what it was like. And they were all plugged. It's like I said, the people at the front press play and then there were all these electronic sequences and switches going on at their respective times. There was no human intervention or, it feels like there hasn't been any human intervention in a long time.


Stream of Life 2. Live feed from a webcam inside the kitchen of&#38;nbsp; “Dodo Pizza” pizzeria on Karl Marx street, Kursk, Russia. Dimensions variable.

Non plus (The “Matrix” 1). Digital print. 600 x 850 mm. Edition of 3.

Non plus (The “Matrix” 2). Digital print. 600 x 850 mm. Edition of 3.
Non plus (Physical Love 1). Digital print. 600 x 850 mm. Edition of 3.
Non plus (Physical Love 2). Digital print. 600 x 850 mm. Edition of 3.
Non plus (Physical Love 3). Digital print. 600 x 850 mm. Edition of 3.
Untitled. Spotlight, shadow (human silhouette). Dimensions variable.
Here Neither. Digital print. 500 x 1990 mm.

Wheels of Life (Visiting Sharmanka). Digital print of image by Jennifer Aldred and Renata Ottati from their visit to a local attraction. 300 x 205 mm.
 



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		<title>MOCK SUNS 1</title>
				
		<link>https://allimelanson.com/MOCK-SUNS-1</link>

		<pubDate>Mon, 10 Feb 2025 23:44:26 +0000</pubDate>

		<dc:creator>Alli Melanson</dc:creator>

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Mock SunsMontréalAndrew Hoekstra and Alli Melanson
21.12.2024, 8-11 PM
... from the third hour (9 am) until midday, we saw left and right from the Sun what looked like two other Suns: they did not shine like the big one, but smaller in appearance and radiance they reddened moderately. Above their circle a halo appeared, shining very brightly, extending in its breadth as if it were some kind of city. Inside this circle a half-circle appeared, similar to a rainbow, distinct in its fourfold color, in the higher part curved towards the two aforementioned Suns, touching them in an embrace of the Sun. [23]

What is that? Its nickname is Sun Dog because it follows the Sun the way a dog follows a person. It is also called a Mock Sun because it imitates the Sun and sometimes seems just about as bright. Most people don't notice because the Sun is bright and you're not supposed to look directly at it, but if you shield your eyes from direct sunlight and look around the Sun on a day with cirrus clouds you can see a Sun Dog. They typically appear as two coloured patches of light on either side of the sun and though rare, can in theory be seen anywhere in the world and in any season. Many people take a picture or video of sun dogs and then notice a strange dot in the image, right here, that thing dancing around is not a UFO it's the reflection of the Sun inside the glass of your smartphone's camera lens. When the camera moves, the dot moves. You'll get that Sun dot whenever you point your camera at a very bright light, whether it is the Sun, the moon or even a light bulb in a room. See how it disappears when you get out of the Sun? 

Andrew Hoekstra. Untitled. 2024. Aluminum, LED Lights, Security Screws. Dimensions Variable.
Untitled (Accidental Camera Obscura 1). 2024. Digital print and artist frame. 16 x 19 in.Untitled (Accidental Camera Obscura 2). 2024. Digital print and artist frame. 10 x 14 in. 
Untitled (Accidental Camera Obscura 3). 2024.Digital print and artist frame. 11 x 17 in.
 
Untitled (Accidental Camera Obscura 4). 2024. Digital print and artist frame. 12.5 x 15.5 in. 
Untitled (Accidental Camera Obscura 5). 2024. Digital print and artist frame. 16 x 14 in. 
Untitled (Accidental Camera Obscura 6). 2024. Digital print and artist frame. 9 x 12 in. 
Untitled (Accidental Camera Obscura 7). 2024. Digital print and artist frame. 10 x 12 in. 
Untitled (Accidental Camera Obscura 8). 2024. Digital print and artist frame. 12 x 14 in. 
Untitled (Accidental Camera Obscura 9). 2024. Digital print and artist frame. 12.5 x 15.5 in.
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