Video and film maker; writer; teacher. Alberta-bred and trained at the Alberta College of Art and Design as well as Concordia, Montreal-based Nelson Henricks received the Bell Canada Award in 2002 for his wry and rigorous, longstanding and prolific contribution to video art in Canada, queer and otherwise. Author of almost twenty-five short films and videos since 1985, Henricks has a wide range: from the ascetic (Window, 1997) to the luxuriantly erotic (Handy Man, 1999); from documentary (Murderer’s Song, 1991) to narrative (Crush, 1997, SODEC prize); from the abstract to the autobiographical (Shimmer, 1995); from rigorously intellectual (Legend, 1988) to high camp (Planétarium, 2001)–appealing both to community festival audiences and to high-Derridean theorists. Does Comédie (1994) remain my favorite simply because that’s the one I programmed in my queer Canada retrospective at Cinémathèque Ontario in 1994, because its obsessive and deluded attachment to Métro station walls and Hydro-Québec meters echoed my own integration into Montreal years earlier, because it’s queer without being gay, or because I have an enduring soft spot for Petula Clark? Working in English and French, Henricks often collaborates with his partner, interdisciplinary artist Pierre Beaudoin.