2010
Time Bomb - in progress (and Time Capsule TBD)

Mira is currently working with her husband Derek Hunter on a companion piece to Time Machine, working title Time Bomb. Time Bomb is a different look at reparative/restorative potential in art. Inspired by Fischli/Weiss and Mary Mattingly's future human Navigators, it will playfully document a post apocalyptic/ apocalyptic moment when nature and the common animal will raise a Molotov cocktail in the name of environmental injustice, through bullet time photography, stop motion animation, super 16 film, video and a rotating tripod machine. The final work will be projected as if through a periscope from an underground bunker watching the world above, within an artificial cave-like viewing structure. The following work, working title Time Capsule, and last work of the Time Machine Trilogy will be the animated monologue of a microscopic, permanent, future robot. Originally created by humans to witness a single lifetime, it is now drifting introspectively, a century beyond it's own planned usefulness. It will be viewed projected on a screen in a large wicker nest structure, which will physically respond to points in the film by releasing scented mist or vibrating gently. Mira is currently designing the primary character and in consultation with a multi-linguist translator who will be designing the robot's language. It will primarily consist of a combination of Spanish and Asian languages.

Images of Time Bomb >>

2010
The Atomic Science of Whirling and the Secret Life of Plants - in progress

In an inspired accidental discovery in 1966, Cleve Backster used a galvanometer on his tropical house plant (Dracaena Massangeana) and discovered it to be sentient. The traditional form of Turkish Mevlevi whirling, practiced since the 13th century, claims to be able to transmit healing energy to human beings present. Whether this is a metaphorical or a physical claim is difficult to prove. Backster was able to scientifically moniter his plants reactions to environmental occurances that human beings could not detect. Mira is looking to recreate Backster's effect in the hope that plants may be sensitive to elements of whirling.

2009
Waterpod™ Project
Floating, sustainable, solar-powered living experiment and exhibition space, including 4 bedrooms, an efficient rocket wood stove, a shower room, extensive edible landscapes, grass roots hydroponics, a small flock of laying hens, composting toilet and urine separation, rain water collection and a grey water recycling system all secured to a rented deck barge, produced by a collective of artists, engineers and volunteers from mostly reclaimed and intelligently re-used materials.

Waterpod™ was conceived as a showcase for grassroots attainable sustainable technology through a cross-disciplinary artistic lens. It was a floating sculptural structure constructed from repurposed materials, that travelled the New York waterways in the summer of 2009, and acted as a home for a small number of visual artists. As one of the resident artists and the first artist Mary Mattingly invited to join the project in 2006, l focused on the restriction and transformation of personal waste, the creation of collaborative innovative projects and ideas, the active caretaking of the nourishing onboard eco-system, and documenting my trials, successes and explorations to share with the public sphere. As tangible evidence of the ensuing global warming epoch becomes visible in our daily lives, it is up to us to examine our habits and look for innovative ways to creatively tackle tomorrow's pressing environmental challenges. Waterpod™ is an accessible self-reliant eco-habitat, exhibition and living space, constructed with the advancing sea levels in mind.

Waterpod: Autonomy and Ecology at Exit Art in New York January 9 - February 6, 2010 >>

Mira Hunter's photographic Waterpod™ construction journal >>

The official Waterpod™ website >>

2001 - 2009 (ongoing)
Public Whirling Project (documentation by Jordan Junck, lovegreg, Derek Hunter)

An original form of whirling in Mongolia was thought to have been practiced by nomadic tribes as a healing ceremony. Though the connection between these tribes and what is recognized as traditional whirling in Turkey has yet to be academically confirmed, their is a similar emphasis on the potential for physical healing in the ceremonies of the Mevlevi Sufi dervishes. Based on the idea that human beings can be positively affected by exposure to whirling, Mira created this project with the intention that these same benefits could be harnessed to bring that energy to places in need. Each ritual is performed in an devastated in environment. To date most of the locations have been urban, including ship yards, subway platforms and alleys in depressed neighbourhoods. These events have been documented with simple photography.

A short history of Mevlevi whirling >>

Watch web video of Mira Hunter whirling >>

2009
Century of Small
A performance of whirling by Mira and her father/teacher Raqib Brian Burke, choreographed by Mira, accompanied by stop motion and bullet time film created by Mira, with a live multi instrumental soundscape by Canadian composer Eric Powell. Performed in 2009 at the CanAsian Dance Festival in Toronto, 2009.

2009
Kiss Project
Animated photobooth flip book.

During the traditional Mevlevi Sufi whirling dervish ceremony of Sema the final ritual is a processional kiss. Mira uses the symbol of that kiss to discuss the right of heritage and permission within the context of a male dominated, Eastern religious order. This animation also features her father and teacher, Raqib Brian Burke. The photos were produced in a Vancouver shopping mall's photobooth in 2009.

2008
Time Machine (including The Happiest Molecule of All)
A multi-media installation featuring a projected bullet time film, a stop motion animated film, a binaurally recorded soundtrack listened to on headphones, a viewing structure with seating, and wall mounted light boxes all created by the artists. Installed in 2008 at the Bartlett Gallery, SFU, Vancouver.

Time Machine was produced in collaboration with Mira's husband, Derek Hunter. It featured 65 disposable cameras fixed to a 360-degree rail made from reclaimed lumber, activated by electromechanical solenoids. The photographs feature Mira, who is a second-generation whirling dervish. They were animated in a sequence, giving the audience the visual experience of revolving around a whirling dervish, caught in a single moment. The images, often displaying unusual exposure disturbances and anomalies, were scanned and made into two films which played simultaneously within a wooden yurt. Time Machine features a film projected on the inside of a yurt-like viewing structure. The film loops, and is projected on two opposing walls. The yurt was constructed around a central load bearing beam, that was a part of the permanent gallery space. The entire structure was made from reclaimed, found or recycled materials. The roof was covered with handmade antique suzanis from Central Asia and old moving blankets. At the centre of the yurt, was a rounded bench, covered with the same textiles as the roof. There was a single oval entrance. The bench organically wrapped and curves around the load bearing beam, and hanging on the beam were 8 sets of headphones. The soundtrack was binaurally recorded, combining traditional chanting and singing, breathing, and wind harp. The soundtrack was created while whirling and wearing binaural recording equipment. On the back exterior, viewed through a crack in the planks, was a short stop frame animation loop, called The Happiest Molecule of All. The music for the installation of this tiny loop was a traditional zikr (specifically intended to treat mental illness) from the album by Dr. Oruç Güvenc & Tümata, called Ocean of Remembrance. The soundtrack for the animation was played softly from small speakers concealed in the yurt's wall, leading the viewer to discover it. The yurt was accompanied by a series of wall mounted light boxes, crafted from reclaimed metal, wood and plexiglass, displaying transparancies of film stills from the film. The concept was to attempt to translate the recognized restorative energy of traditional whirling through technology, allowing the viewer to have a positive emotional and physical response.

More images of Time Machine >

Watch video of Time Machine >>

Watch The Happiest Molecule of All >>

2008
Free Imagination (Kiosk)
A multi-media interactive installation consisting of a wooden kiosk on caster wheels built around a large light box, with security camera, grill, cooler, cheese, bread, butter, simple art supplies and uniforms.

Free Imagination (Kiosk) was produced in collaboration with Mira's husband, Derek Hunter. It was installed in 4 locations including a central Vancouver intersection and a group exhibition opening at the Bartlett Gallery, SFU. A series of volunteer artists wearing white gloves, hats and shirts attempted to fulfill any and every request for free. The events were videotaped with a black and white surveillance camera fixed to the shingle roof. In a nod to Nutsy's by Tom Sachs, they also prepared and distributed free grilled cheese sandwiches. The installation was later adapted so it could be bicycle driven/powered.

2007
Axis of Motion/Axis of Stillness (Time Machine prototype)
A multi-media installation including a projected bullet time film and soundtrack in a cloth covered dome. Installed in the Bartlett Gallery, SFU, Vancouver.

Axis of Motion/Axis of Stillness was produced in collaboration with Mira's husband, Derek Hunter. It was the initial experimental prototype for Time Machine. The film was made using a bullet time 20 camera arc and featured Derek whirling. The final squence featured styrofoam peanuts caught in mid air and inspired the artists to introduce rose petals into the final sequence of Time Machine.

2007
Kaçi the Goat Head Princess (prototype for Waterpod™ Origins Saga)

Part stag, part girl, Kaçi is a character from Mira's Waterpod™ Origins Saga, a mythical imagining of the beginning of Waterpod™ if it were to occur in a futuristic post apocalyptic era where forgotten chemical environmental disasters have resulted in a new race of uniquely intellgent animals. It is the account of an archetypal journey of twin girls, separated at birth, who each begin to display distinct animal characteristics inspiring them to go in search of each other. It revolves around a vacant, dangerous landscape, where a group of people turn to the water to create a new floating form of independant civilization. It is a futuristic story about evolution, metamorphosis and most importantly, hope. This short experimental film features Kaçi whirling in a lush forest environment.

Watch Kaçi the Goat Head Princess >>

2007
Utopia
A suspended 3 dimensional model cast from resin and fiberglass including electronics and organic matter.

Utopia was produced in collaboration with Mira's husband, Derek Hunter. It was created as a floating village cast from resin and fiberglass, including electronics in the base to illuminate the Northern molten volcanic tip of the imaginary land mass. The piece was covered with moss, lichen and pot ash to portray vegetation and snow, which was collected from where Mira was living when the piece was executed. Evidence of life is seen in the small abandoned buildings and construction sites in the form of a few concealed flickering amber LEDs, but no creatures are visible. This piece was inspired by Mira's extensive traveling to Turkey and Saudi Arabia, where often when funding runs out on large construction projects, they are left unfinished and vacant, eventually with the accessible floors becoming populated by vagrants.

2006
Nomad Suitcases
Old suitcases altered to perform different tasks including acting as light boxes, some were hand powered, others required an outlet or batteries, all included drawings and photographs and other token elements.

The Nomad Suitcases were produced in collaboration with Mira's husband, Derek Hunter. They were originally exhibited with Mary Mattingly at the multi-media installation and event Forecast: An Environmental Disaster Opera, at Whitebox Gallery in New York, New York in 2006.

2004/2005
Crystal Weapon - Crystals
Cast colored resin crystal shapes and crystal gun weapon, all including electronics for illumination.

The Crystals were produced in collaboration with Mira's husband, Derek Hunter. They were created for a multi-media installation with Mary Mattingly titled We Go Round And Round In The Night at the Feldman Gallery in Portland, Oregon in 2005. The Crystal Weapon was created for a group exhibition titled The Life Boat, during Art Basel in Miami, Florida in 2004.