A pensive undercurrent runs through Clare Samuel’s work, and it carries into her interview To Behold and To Appear, with writer Lodoe Laura. Their conversation moves through Samuel’s portraiture practice across film and photography, delving into the ethics of the gaze and the quiet attunement that gives her work its distinctive, contemplative power.
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“PPE (rituals) is a browser-based iteration of the speculative virtual world Plants Properties Equipment.”
In her practice, Jaime Black-Morsette often turns to the trace as a central motif, drawing out intertwined histories of oppression and resilience. The themes explored in this artist project, “presence,” emerged from her impactful REDdress project, now a potent symbol for MMIWG2S+, and have since evolved into a broader meditation on the body’s index as a persistent marker of resistance against erasure.
Following a thread from colonial hauntings to Freudian repression, Jacob reflects on the aftermath of the recent ousting of Wanda Nanibush from her position at the Art Gallery of Ontario over her pro-Palestinian stance, examining what fault lines are revealed by the residual traces left in this wake.
“Elaine Cameron-Weir’s material transformations reference, eschew, and play with these sticky meanings to reveal the invisible traces of power that dance around every aspect of our lives.”
As the conversation unfolds, the two discuss alchemy, medicine, sickness, symbolism, and artmaking in a tender exchange which is both enchanting and artful.
Traces act as evidence of repression, dispersion, unlikely affinities, secret histories, kinship, and artistic lineages.
the evolving nature of solidarity in fraught moment
Expanding on a discussion that took place at Anthology Film Archives following a screening of Lily Jue Sheng’s work, Steff Huì Cí Ling examines what it means to organize as arts workers while building solidarity beyond the sector and create art with “working-class intention” in a “bourgeois context.”
Use augmented reality to expose clues in the “Celestial Throne” game show.
A chance encounter at a thrift store sparked artist Juan Ortiz-Apuy’s (QC) project ‘Shirleys’. Inspired by vintage Kodak cards used to calibrate colour and skin tone, Ortiz-Apuy challenges the illusion of neutrality in lens-based technology.