“Dixon, together with Martin Hansen and Rachel Mackie, give the cinematic and symbolic cymbal crash finale, á la Stanley Kubrik’s The Shining, set to Béla Bartók’s Music for Strings, Percussion and Celesta, Sz. 106, a rewrite, in “a kind of [for tonight] permanent way.” Something about Rachel Lee’s lighting now makes manifest, for me, a Rainer Werner Fassbinder film and New German Cinema of the second half of the twentieth century. On a cushion, peering between the shoulders of those sat before me, I see fragments of Dixon, Hansen, and Mackie as they wave and catch sound, and I weave these luminous filaments into my own film.”

- Gracia Haby for Fjord Review 

“You seem restless, in a kind of permanent way." - Sarah Polley

At the heart of The Folded Scene is an interest in the instability of bodies, images and perception. The work suggests a world in which physical forms and relationships are continually shifting, as though time and space might fold in on themselves. The atmosphere of the work drew on the history of the Abbotsford Convent. The many women and girls who were forced to occupy it. I was also interested in 19th century spiritualism. This was then applied to work as a soft lens or filter.

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