(Originally published in: Lola, Issue 12 Summer 2002)

Last Halloween brought with it the farewell passing of Colin Campbell, one of Canada’s most respected video artists and curators, mistresses of multiple drag personae, and member of the founding generation of video art in this country. Born in 1942 in Reston, Manitoba, Campbell studied at the University of Manitoba for hs BFA (1966), then at Claremont Graduate School, California, for his MFA (1969). He lectured in fine art departments across the country, and his CV includes representing Canada at biennales in Sao Paulo (1977), Venice (1980), and Istanbul (1992), and at Documenta 6 in West Germany (1977).

The issues at the heart of his fifty-plus output of tapes during his outstanding career centre of identity, gender and sexuality. They are always coupled with strategies of dissemblance; they unsettle the obvious and problematize linear narration through a complex layering of story lines and cross dressing.

Campbell often turned the camera on himself. He talked into it, and to his audience, and he scripted his various stories in the first person. His tone was ironic and his decorum campy. His characters were always flawed and equally amiable, and they all constitute the artist’s sly signature in video performance.

For all you slow learners out there, Blazay and I thought it prudent to add that our interview with Colin’s various characters is purely hypothetical. It never really occurred and does not intend to offend or mislead. Against the grain of Colin’s subtlety we note that this is strictly a persona play among friends.

Setting: DJ Blazay is spinning some smooth Platters tunes in the corner of the lounge. Bambi and the interviewees are seated on red vinyl-covered couches around a faux veneered Idomo coffee table, computer atop. Ambient lighting pervades the room. Nice warm oranges and reds.

Bambi: I think it makes sense to start with you, Art Star (Sackville, I’m Yours 1972). Did you keep in touch with Colin after he left Sackville, New Brunswick for Toronto in ’73?

Art Star (shirtless): Well, thank you, Bambi. Yes, at first we were in regular contact but as the years built up between us, well, our correspondence began to slow. We understood each other deeply. His move was a bit of a shock to us all. He left a tight circle of friends for the big city. His animated ways were absent from the community, and no more tuna fish casserole for him at the university president’s home. We missed him a lot.

Robin (Modern Love, 1978; Bad Girls, 1980): Art, your loss in Sackville was our gain in Toronto! Heidi, me, and the others rocked the Cabana Room in the old Spadina Hotel every week thanks to Colin. We were hot. Colin would tape us in single take improves, cut it all together, then screen it at the end of the week. Once I was a little too nervous to get nude for some photographer friend of his. I lost my job over it, but we had lots of fun. It sure beat my day job at the copy shop.

Bambi: And, Mildred, how are you doing these days?

Mildred (Hollywood and Vine, 1977; The Woman from Malibu, 1976): Colin helped me through some of my toughest times. He was so empathetic. All those obscene phone calls after my husband’s death, sleepless nights, desert drives alone… Colin would patiently listen to me. We went back a long way. I suppose I’m old fashioned.

Colleena (Que Sera Sera, 2001): I owe everything to Colin for kick starting my career as a performance artist. All I need now is fame. Art Star, I want to talk to you after!

Bambi: Thanks for your comments everyone, and for all your work with our dear late Colin. You will outlive us all.