“Emerging first from intuition, then developed along with and through extensive research, much of Clare’s work interrogates the gaze and body politic. Ahead of her solo exhibition at PAVED Arts in Saskatoon in November 2025, I spoke to Clare about her process and impetus to create; her work, which has traced a relief of feminist histories; and her interest in the gendered experience of perception and being perceived.”
“PPE (rituals) is a browser-based iteration of the speculative virtual world Plants Properties Equipment.”
“To know where we are going, we must first remember where we have been. This work is a way of addressing the silence and shame surrounding the experiences of violence of those close to me, of speaking out where they felt they couldn’t, and picking up on the traces of what was left unsaid.”
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.”