Image Syncers

Jan 10 — Apr 4, 2026
Field:

Exhibition

 Location:

Western Front

Description:

Image Syncers was a solo exhibition by artist-in-residence Nina Davies. The exhibition responded to contemporary TikTok trends in which people mimic artificially-generated videos, with Davies reimagining this choreographic phenomenon as a tool to disrupt visual economies and open up alternative modes of meaning-making.

At the centre of the exhibition was a twelve-minute video framed as an episode of the fictional podcast “What’s Sizzlin’.” In it, host Bryce Snyder interviews journalist Teagan Carroll about her exposé on a break-in at the Trutch Seed Bank. Carroll reveals that the group responsible, known as the Plot Corps, physically reproduced AI-generated imagery to evade detection. Their discussion expands into broader reflections on “perception-collapse,” “image syncing,” and the evolving relationships between language, images, and bodies, in a world shaped by synthetic media.

The video was accompanied by sculptural works that expanded the narrative world. A series of holographic forms appeared as spectral stand-ins for the fictional Image Syncers, while transparent, vitrine-like backpacks displayed their personal belongings. These included iPhones displaying images and video footage of performances evoking AI-generated scenes created entirely through analogue means—costumes, props, makeup, and lighting—as well as sculptured “cursed hands” used by the characters to interface with generated worlds or manipulate real-world events.

On January 16, 17, 23, and 24, the exhibition was activated by a series of performances in the Grand Luxe Hall titled Contacting Image Worlds. Structured as a fictional gathering of Image Syncers, four dancers enacted AI-inspired gestures using analogue techniques to show how generated footage can be simulated by the body, blurring the line between human and synthetic movement.

The exhibition was accompanied by an essay by Ruby Justice Thelot, who joined Davies in conversation at the opening reception of Image Syncers. 

Image Syncers featured performers Dave Biddle, Torien Cafferata, Lisa Christiansen, Sula Castle, Livona Ellis, Jose Funnell, Gracy Gandhi, Kevyn Hu, Alger Liang, Alicia Laing, Sihan Ling, Christina Lovey, Nathaniel Marchand, Rebecca Margolick, Manuel Muñoz, Andy Newman, Duane Nasis, Richard Pye, Simon Roberts, Niloufar Samadi, Gian Singh Sanghera-Warren, Noah Sawchuck, David Varhegyi, Christoph Von Riedemann, and Scott Young. The project featured videography by Reverse Magic, photography by Dan Jackson, music by FHUR, makeup by Kendahl “Lahbra” Jung, and costumes and props by Kitty Blandy.

Image Syncers was commissioned by Western Front, with support from the Canada Council for the Arts.

Curated by Susan Gibb. 

Documents:

A large rectangular screen sits at an angle at the back of a dark gallery. On the screen are four young adults dressed in hoodies with wobbly and unintelligible teal text overlaid. On the right wall hanging at eye level are two transparent backpacks, their contents glow a soft amber.
Six people are arranged throughout a hall-like space on a large projection screen. Three stand next to a door and are holding hands with too many fingers. They look out of frame with neutral, almost model-like expressions. Behind them is a blurry figure moving towards the door. Two people sitting in chairs in the background have shocked expressions on their faces.
A woman with long blonde hair and glasses appears on a large projection screen with a neutral expression. She sits at a microphone, wearing headphones while being recorded by a cellphone on a tripod, like she is on a podcast. She and the phone appear out of focus, only her face on the phone screen can be seen with clarity.
In the corner of a dark gallery, behind the projection screen, three busts dressed in hoodies are hung from the wall. The hoodies are dark tones with illegible text on the chest. Each hosts a holographic face inside its hood.
Three busts dressed in grey hoodies with illegible text on the chest hang in the corner of a dimly lit room. One is in the corner, the other two flank it on opposing walls. Each hood hosts a holographic face.
A bust dressed in a solid grey hoodie with illegible text on the chest and a holographic face hangs from the wall. Inside the hood, the face is looking to the side.
A bust dressed in a black hoodie with illegible text on the chest hangs in the corner. The text is black and red. Inside the hood, the holographic face stares straight on.
From a side view, a bust dressed in a brown hoodie hangs on the wall. Inside the hood is a holographic face with a neutral expression. The angle highlights the flatness of the holograph.
On the left wall of a dark white room two transparent backpacks hang on the wall, their glowing contents visible. Behind the bags on the intersecting wall hangs a bust dressed in a black hoodie with a holographic face that shines brightly from inside the hood.
A small clear plastic bag hangs against a white wall in a dark room. In its outermost pouch is an iPhone with a young adult dressed in a navy t-shirt and blank expression on the screen. The larger pouch hosts a collection of disembodied hands, lit by a warm light.
A clear plastic backpack hangs against a white wall in a dark room. In its outermost pouch is an iPhone with two young adults standing side by side with their arms folded over their chests on the screen. The pouch behind holds a disembodied hand and a folded hoodie. The bag is illuminated from the inside in soft, warm light.
A clear plastic bag hangs from a white wall in a dark room. Inside two disembodied hands with too many fingers clutch an iPhone. The phone screen displays a line of young adults dressed in bright, casual clothing, standing together facing the viewer. A warm light shines from inside the bag.
A bust dressed in a black hoodie hangs from a white wall in a dark room, illuminated by a spotlight. The red text on the hoodie’s chest is illegible. Inside the hood is a holographic face staring ahead.

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Western Front is a non-profit artist-run centre in Vancouver.

We acknowledge the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səl̓ílwətaʔɬ (Tsleil-Waututh) Nations as traditional owners of the land upon which Western Front stands.

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