Coming together for the first time in my tenure without a prompt, the following issue nonetheless feels as though it is circling something specific, even if that something is difficult to name.
Nawang Tsomo Kinkar
Nawang Tsomo Kinkar (she/her) is a Toronto-based independent writer and researcher interested in curatorial practice, histories of photography and global Indigenous contemporary art. She holds a Masters in Photography Preservation and Collections Management from Toronto Metropolitan University where her research on early 20th century photographs of the Himalayas and Tibet was supported by the Royal Ontario Museum. She has held several supporting roles within museum curatorial and collections departments. From 2024-25, she was the recipient of the inaugural TD Curatorial Fellowship at WAG-Qaumajuq. In 2025, she was a Confluence Writer-in-Residence at Forge Project. She also holds the 2025-26 TD Writing Fellowship Award by Gallery TPW. Her writing has been published by Inuit Art Quarterly, 10×10 Photobooks, BlackFlash Magazine and more.
“Le Grande’s video piece projected Alberta’s Lake Wabasca on the wall behind her as she danced with free-flowing and fluid gestures, her satin fringe glistening against the backdrop of the sky. In a night that felt like a fever dream, she shape-shifted from a bird to a mermaid to an early 2000s pop star. Months later, we spoke at length about her generational healing, language reclamation, and creative aspirations.”
Several of the works in this issue consider how the domestic is shaped not only by private life but also by global currents, family histories, and consumer goods, nudging at the conditions that shape how we live, where we live, and with whom we choose to share our lives.