(curation, architectural video mapping)
For a fourth year, Manufacturing Entertainment curated and produced three large-scale projections for Lights on the Exchange, an outdoor winter art festival in the Exchange District of Winnipeg. The 2026 festival runs from January 21 to March 21, 2026. Find out more
LIST OF ARTWORKS
Photos are in the order of the artwork descriptions.
1. Stephanie Kuse (Saskatoon)
LOCATION: 174 Market Ave. (Rorie St. side) (Royal Manitoba Theatre Centre)
TITLE: “Inflorescence II”
IG LINK: @sckuse
ABOUT THE ARTWORK:
Inflorescence II is the latest iteration of media artist Stephanie Kuse’s 3D-rendered floral explorations, this time borrowing inspiration from plant life that grows naturally in Treaty 6 territory and the prairie regions beyond.
ARTIST BIO:
Stephanie Kuse (she/her) is a media artist and graphic designer based in Saskatoon, SK.
Utilizing
3D-animation and digitally produced abstract textures, Stephanie
creates lush visual worlds that blend organic form and movement with
vibrant synthetic colours and crisp digital elements. Equal parts
nostalgic and technical, Stephanie’s work has been viewed across North
America and beyond in the form of projections for live performance,
interactive installations, visualizers and music videos. In addition to
frequent audio/visual collaborations, Stephanie plays a role in bringing audiences together through sprawling projection installations as the
creative director and artist for HYPERART, an annual multidisciplinary festival in the heart of St. Boniface in Winnipeg, MB.
2. Zoë LeBrun
LOCATION: 84 Albert St. (fka The Haberdashery)
TITLE: “Sutures“
IG link: @zo_lebrun
ARTWORK:
“Sutures” is a visual love poem merging medical imagery with the action of machine embroidery, mixing the sterile and abstracted body with the softness of embroidered stitches.
Combined with the accompanying poem, this piece reminds us that metaphors of love can be both dark and dulcet—viscerally tied to the body while also pursuing a romantic vision of a chosen future. Just as embroidery needs the sharpness of a needle to puncture fabric and wounds need thread to hold them shut against the world to heal, Sutures utilizes these medical and sewing references to draw parallels between medicine, craft, and the work of loving another person.
ARTIST BIO:
Zoë LeBrun (she/they) is an emerging multidisciplinary artist of settler descent practicing on Treaty 1 Territory in Winnipeg, Manitoba. Their practice rests at the intersections of video, installation, and sound art. Through these durational mediums, LeBrun seeks to better understand the human condition and explore themes such as temporality, the perceptual body, and existentialism. LeBrun’s work is rooted in the exploration of materials and processes that embody metaphors of lived experience and bodily function.
In 2025, she was one of three recipients of the Video Commission Residency through Video Pool Media Arts Centre, and recently attended the Studio H International Artists Residency with the generous support of the Manitoba Arts Council.
3. Zachery Cameron Longboy (Vancouver)
LOCATION: 457 Main St. (Confederation Building)
TITLE: “Wonderland TWO * Kaleidoscope”
IG LINK: @zacherycameronlongboy
ABOUT THE ARTWORK:
A poetic collage, a place called joy. Using a smartphone to capture and edit the digital film, Longboy has created a work that transcends its origins as discarded footage.
It has morphed into a search for the beauty and joy in the mirrored symmetrical patterns, angles and layers of a kaleidoscope, a testament to the power of artistic vision.
“He stands in the garden
distracted by beauty.
Pulling his focus closer to his heart
Beauty, Beauty,
What a beast am I?”
ARTIST BIO:
Video maker, performance and installation artist Zachery Cameron Longboy, born in Churchill, Manitoba, of the Sayisi Dene lineage, brings a deeply felt, hybridity-layered perspective to his work. His videos often use his complex performance and installations as a departure point. Longboy is nationally honoured and widely shown in Private and public venues and public collections. Surrey Art Gallery, The National Gallery of Canada (Ottawa), Glenbow Museum (Calgary), and The Canada Council Art Bank (Ottawa).
4. Manufacturing Entertainment (Winnipeg)
LOCATION: 85 Arthur St. (Cake-ology)
TITLE: “Regress Bloom”
IG LINK: @manufacturing_entertainment
ABOUT THE ARTWORK:
“Regress Bloom” is a multilayered representation of open data interpretations covering fifteen years of nitrogen and phosphorus testing on the Red River (GPS Coordinates: 50.1411, -96.86861) in Selkirk, Manitoba. It is a research project that represents a specific set of data points, filtered through technologies, human decision-making, creative translation, and audience observations. Peripherally, Regress Bloom is an exploration of algorithmic reinforcement, ‘filter bubbles’, and the human biases in digital systems development.
Testing across many sites near Lake Winnipeg has shown that, due to inadequately treated wastewater, animal waste, and fertilizer overflow, both nitrogen and phosphorus encourage the growth of cyanobacteria, also known as blue-green algae. Many of Manitoba’s bodies of water experience these cyanobacteria ‘blooms’, also called green sludge. When blooms decompose, they consume considerable amounts of oxygen from the water, harming aquatic life. In full bloom, they can ruin an otherwise perfect beach day.
“Regress Bloom” finds itself “interpreted1,” developed into a story of meaning from the data. And from that story, we create theories and assumptions. Through this visual study and manipulation of data, there can be more than one conclusion. It is not untrue that the addition of chemicals to Lake Winnipeg has created cyanobacteria growth but what is made visual in the artwork is inherently biased due to the small subset of data points collected. The scientists who made the conclusion about overgrowth used a much more detailed analysis and actual scientific research methods.
Through this interpretation of data, Regress Bloom is ultimately about confirmation bias and single-source scientific conclusions. Society, in general, jumps to conclusions using small pieces of information and establishes beliefs through correlation, posting to social media channels. Here, “bloom” can refer to the growth of cyanobacteria, but it can also point to our unfounded group-think exacerbated by social media algorithms. And “regress” draws attention to the research conducted to prove what one already believes is a foregone conclusion.
1. In Susan Sontag’s”Against Interpretation”, she outlines the different sides of interpreting artwork and experiencing it.
ARTIST BIO:
Manufacturing Entertainment are artists Julie Gendron + Emma Hendrix. Collaborating for over 19 years, they use multiple mediums, including video, sound, installation, analog/digital technologies, the internet, and performance.
Gendron + Hendrix began together working as improvised audiovisual performers within the new music community. They also develop interactive and immersive sound based installations, most notably, don’t stop, which has exhibited and received recognition in Canada, Sweden, Spain and Japan, and most recently, glamTURE, an installation of modified turntables exploring the culture and aesthetics of ‘80’s glam metal culture. Other works include audio tape players and a waterbed (noise/denoise), a dryer and a rocking chair (39bpm), an iPhone app (iDon’tStop) and an online collaborative Processing generative image making application (Permanent Deviation).
Using sound, installation and visual forms, Hendrix + Gendron take every day actions, objects and environments, and manipulate them in order to conjure multiple meanings in an unending exploration within themselves and, in turn, form new points of view for their audiences. They create in order to express the vague and the conspicuous, and to exemplify the creative capacities of observers and participants.
