The term “skinjobs” comes from the film Bladerunner, in which it was used to characterize genetically engineered replicant beings. The revolt of the skinjobs in the film is comparable to the defiantly deviant spirit of the works in the exhibition, and to “the return of the repressed,” a feature of Gothic romance. The exhibition was timed to coincide with Gothic Spirits, Gothic Flesh, the Halifax conference of the International Gothic Association.
Skinjobs included works in various media by Canadian artists who confront societal norms by means of grotesque, uncanny and monstrous distortions. Their art is haunted by the signs and symptoms of queer desire, AIDS mortality, cultural survival, and body horror. The participating artists were Stephen Andrews, Michelle Gay, Catherine Heard, Teresa Marshall, Regan Morris and Brian Piitz. An illustrated catalogue was published.
