Loving or unloving, families contain complex emotional structures that are informed by blood ties, love ties, like ties, amalgamation, and separation. They are subject to forces of love, ambition, adventure, restlessness, fear, commitment, and escape.
Articles
For our Spring 2020 issue, Toronto-based artist Hiba Abdallah created a 6-page poster series that is meant to be printed, posted, shared, and copied.
Nicole Kelly Westman seeks to re-enchant fleeting experiences with the poetics of light and the unveiled artifice of the low-tech tools of photographic special effects and movie magic.
Turning to her own family albums, Naqvi’s work combs through layered narratives that engage with themes of authenticity, cultural translation, language, and gender.
For many diasporic people of colour, food is tied to migration and can be deeply personal and complex. It can be a site of racism, shame, and trauma, a site for politicization, as well as a site for remembrance, family histories, and notions of home.
In this time of uncertainty and social distancing, sophia bartholomew explores the breadth and lasting impact of online spaces. “Sitting here searching for words, I’m startled by gaps in my own understanding when trying to describe an online exhibition.”
Katherine Connell and Esmé Hogeveen discuss two recent films by British filmmaker Beatrice Gibson ‘I Hope I’m Loud When I’m Dead’ (2018) and ‘Deux Soeurs Qui Ne Sont Pas Soeurs (Two Sisters Who Are Not Sisters)’ (2019).
How does photography act as a materialized genealogy of our memories? How do we understand our relationships to family, community, and the self through photography?
Using the aesthetics of indenture, Gosine seeks to re-establish connections to the land, its people, and the meaning of home.
As a latex or polyurethane plastic barrier used in dentistry and oral sex alike, a dental dam is the perfect reference point for Catherine’s work: it’s a manufactured material that secures the mouth, rendering it non-porous—uncontaminated—yet still capable of sensation.
“But even without the experience that I had—of meeting the subjects of Bui’s images in their everyday averageness—her photos hint at that unsettling divide.”