An essay by the Aisle 4 Collective shares findings from their ongoing research project into the role of non-disclosure agreements.
Call For Pitches: “Traces,” BlackFlash Issue 42.1 (Summer 2025). Deadline: December 10, 2024
Deadline for Applications: December 2, 2024.
Join us at PAVED Arts on Friday, November 8, 7–10 pm to celebrate the launch of BlackFlash issue 41.2, ‘Labour.’
Artist Sarah Cullen (ON) reflects on MOTHRA: Artist-Parent Project, a residency and network for artist-parents and their children, designed to question dominant ideas about care work.
“Frei Njootli’s works become sites of contact for ongoing confrontations: friction between the abstract and concrete, Indigenous ways of being and settler-colonial power structures, and demonization and romanticization of Indigenous bodies.”
“While audio and video loop, and motifs around kinship, healing, music, and the rhythms of life recur across his practice, Ukaigwe’s work is anything but repetitive. […] Ukaigwe examines complex social structures through an empathetic lens that is both insatiably curious and persistently community-minded. Ukaigwe’s practice uplifts those around him while also sharing an intimate piece of himself.”
“Sheikh’s work reappropriates the aerial photograph by orienting his series spatially and cartographically. His photographs contribute to a four-dimensional understanding of the land and the struggle it holds by both situating his works temporally and documenting history as it is made visible on the land itself.”
“Making art, reflecting, means caring more than is normally necessary while also ignoring more than is normally necessary. It means parsing through the constant arrival and disappearance of images and information, often without warning or context. It means we must decide to be calloused or catalysed.”
“We don’t know what we’re making until we make it. When I shared my poem with Christine Fellows and Chantel Mierau, two brilliant artists I was over the moon to collaborate with, the page dissolved and burst open all at once.”
“To look at the surface of things is not enough: engaging with the objects meticulously crafted by Jennifer Laflamme, the Toronto-based artist otherwise known as Mifi Mifi, is a necessarily sensuous, embodied act, an invitation to touch the surface of an object in order to be pulled directly into its intricate world.”
