Berta Boys is a short film and exhibition that contemplates the teetering instability of Alberta’s hyper masculine identity. For Terrence, this exaggerated posturing has fused Alberta’s aesthetic and economic identities into a petrol-philic culture that is put on display via hyper-masculine regionalisms; roof-racks, lift-kits, oil-slogans and truck nuts, these are the accessories of the twenty-first century petrol cowboy. Driving forward with a self-assured camp, Berta Boys looks to open up this imagery by creating an isolated world where men turn their violent gaze on each other. Terrence is joined in the film by fellow Albertan artists Aaron Brown and Gabriel Esteban Molina as co-writers and co-performers. In an effort to explore the masculine archetypes found within themselves, the trio meditate on the unrestricted behaviours that blend tragedy with absurdity.
Berta Boys is funded in part by the Alberta Foundation for the Arts, the Edmonton Arts Council, and MacEwan University.
Berta Boys is currently exhibiting at Latitude 53 in Alberta
Berta Boys Trailer
Berta Boys, Film Still, 2019
Useless Gods, Acrylic Ink on Paper, 2019
Upcoming Project - KINGA
Upcoming mockumentary KINGA. KINGA follows an aspiring model to contemplate the processes we use to bridge the disconnect between dreams and reality. Musical score by Ryan Snyder
'KINGA' Teaser Trailer
Alberta #3 is a collaboration between Kyle Terrence and Bradley Necyk that started with their residency at Arts Letters & Numbers, Upstate NY. In this short film directed by Terrence, Necyk performs a written reflection on the complexities of his temporality in being a father with Bipolar disorder.
Alberta #3 Trailer, 2018
This work was made as a part of a one month residency at The People's Lodge, and funded by the University of Alberta's ADGSA.
In this work Terrence questions transcendence as a model for contemplation: the desire to strip earthly bonds and elevate oneself beyond the physicality of place. He finds this method lacking, precisely because it aims to separate oneself from aspects of being that are already elusive and even inaccessible. Terrence instead looks to reject transcendence in favor of embeddedness; a closer look at the slippery and ethereal physical limits around him, rather than attempting a metaphysical leap beyond them.
Embeddings, Video, 2017
Sinkhole 1, digital print, 2017
Sinkhole 2, digital print, 2017
Sinkhole 3, digital print, 2017
Sinkhole 4, digital print, 2017
Sinkhole 5, digital print, 2017
Sinkhole 6, digital print, 2017
Pilgrimage: being in the end times
In an attempt to overcome his phenomenological distance from the looming threat of the ecological crisis, Terrence sets out on a secular pilgrimage to create points of contact with his material world. Armed with a multitude of cameras, a vehicle, and a mammalian costume, Terrence documents this Pilgrimage, asking us to join him in contemplating both the kitsch banality and the temporal incomprehensibility of living in ecological end-times.
Pilgrimage (Trailer), 2016
Trailer for the performative documentary that follows Terrence's movements and gestures through first and third person perspectives across Alberta's urban, suburban, industrial, and natural landscapes.
Noumenal Artifacts, 2016
Handmade costume worn during the performance of Pilgrimage
Precarious Architecture, 2016
9x9' Light-box structure containing heterotopic documentation of the Pilgrimage in a photo-collaged triptych.
Installation shot of Pilgrimage in FAB Gallery, 2016
Detail from Precarious Architecture
In collaboration with Canadian visual art Bradley Necyk during his residence for the Friends of the University Hospitals with Transplant Services, Alberta was created as a contemplation on the conversations and stories that came from transplant patients and donors. Co-written and co-directed by Kyle Terrence and Brad Necyk. Screened at the Metro Cinema in 2016.
Alberta (trailer), 2016
Alberta film still
Alberta film still
The Phenomenology of Film
The Phenomenology of Film is a film appropriation video installation that attempts to de-familiarize popular cinema’s eschatological themes of death and love. Terrence works to isolate the performances of these themes by stripping away the film’s context and narrative, as well as juxtaposing the performances against each other. The Phenomenology of Death puts actors into a stasis where they now continuously (re)perform the contemplation of their once immediate death against the backdrop of a cyclical and relentless system. The Phenomenology of Chasing looks to reduce the representations of Big Love in the recurring form of the romantic chase by isolating this moment into a physical feat.