Why Are You So Afraid of A Plant showcases work from 2019 to the present, depicting cannabis in various forms. My undergraduate career has attempted to destigmatize cannabis; growing up with exposure to various levels of socioeconomic wealth allowed me to witness cannabis use be perceived differently amongst western culture, issues that I see as an extension of larger addiction and mental health stigmas as well as dismissive and classist perspectives. By patronizing and invalidating those who use cannabis, refusing to hear the experiences and opinions of those that they are scrutinizing, anti-cannabis individuals perpetuate a cycle of ignorance that was largely brought into focus by governments to further the sales of pharmaceuticals and promote fear.
My work conceptualizes these ideas and puts into question why society accepts a broad range of actions from wealthier people, while those who have no resources to defend themselves are constantly being bombarded. Additionally, my work challenges why such a stigma was allowed to be created and perpetuated in the first place. Cannabis has issues and harm associated with it- but for some, like myself, it is the lesser of evils to choose from. Most importantly, my work is about how everyone should be allowed to live their own, unique experience without judgment from others- and be able to tell their story.
Permanently Multifaceted Series – By Shan Moroz Gessoed canvas, Acrylic, Oil pastel, Oil paint, Floss, Yarn, Beads
Cloud constellations are not only an ephemeral experience, but the sky is also the most egalitarian form of art because everyone has access to it. This series focuses on depicting cloud formations that prompt associations with other images, using the malleable nature of clouds and embroidered images I see in the clouds to spark a curiosity to what else can be conjured.
When I look at the stories that make up our culture, I can’t help but wonder about who’s biases are strong enough to shift the narrative rather than adding to it; a practice that creates barriers to active communications between different groups of people. I am combatting ableist structures within in our society by creating inclusive paintings that allow and encourage for the collaboration of the viewer.
My work performs in overlapping layers of different languages: paint, crochet, embroidery – creating images within the clouds that myself and others see in all stages of creation. My art mirrors my own demeanour of ever-changing interactions and shared storyboard in the form of cloud constellations.
Yiyue Zheng is a passionate photographer who captures the special connections between people, nature, and emotions. She uses a minimalist style to highlight the beauty in everyday moments. Her project, Together-Apart, explores individuality, especially among siblings and twins, drawing from her own experiences as a twin. The title, “不可替代的彼此” or “irreplaceable each other” in English, signifies the idea that some things are so unique and valuable that nothing can replace them. Whether she’s photographing families, couples, or newborns, Yiyue aims to showcase the strong bonds between siblings while celebrating their unique identities.
“As a passionate photographer, I focus on capturing the essence of individuality, particularly within the context of siblings and twins. Growing up as a twin myself, I have always been fascinated by the special bond and uniqueness that comes with being a sibling or twin.
During my childhood, I grappled with the overwhelming spotlight of being a twin. The constant “twin sister” label ignited a longing for my own identity, a desire to stand out on my own. This personal journey has shaped my photography style that seeks to highlight the differences between twins and siblings, rather than focusing solely on similarities.
Through my work, I aim to explore the theme of irreplaceability and celebrate the special connection between siblings. Just as the Chinese part of the title “不可替代的彼此” can be translated into English as “irreplaceable each other,” the phrase conveys the idea that two or more individuals or things are so unique and valuable in their own ways that they cannot be substituted or replaced by anything else. Therefore, I want to capture moments that evoke a sense of emotion and connection, and create images that resonate with anyone who has experienced the sibling or twin relationship. Today, whether photographing a family portrait, an engagement session, or a newborn shoot, I am always looking for ways to showcase the special bond between siblings while also highlighting the unique identity of each individual.”
“This is OUR narrative, and it’s also the essence of MY life.“
About The Models
Wimwipa, a food science student with a deep passion for cooking, traveling, and drawing (Art account @owlnigiri). Wimwipa, along with her sister Pimpisa, was born and raised in Thailand, and they spent three years of their high school years living in China. Both sisters share an enthusiasm for the world of food (Food account @doublericeeats) and are presently pursuing their food-related degrees at the University of Guelph.
Pimpisa is a third-year Food Industry Management student at the University of Guelph. Her cultural background is rooted in Bangkok, Thailand, where she was born and raised. In addition to her academic pursuits, she also has a passion for part-time modeling. Pimpisa has previously worked as a model for Stone Road Mall and is open to exploring more opportunities in the future. You can connect with her on Instagram @jennieprasitn and view her portfolio at @itsjenmcc.
Gwyn Rossiter is an interdisciplinary artist that enjoys working most with textiles and oil paints. Roadkill is the culmination of two years of artworks during their time as an undergraduate at the University of Guelph. Roadkill seeks to place animals in the forefront of their own destruction. Gwyn seeks to confront the viewer with animals that are often cast aside and ignored in order to encourage viewers to come face to face with our place within our often destructive society and work to preserve these animals as individuals after their deaths.
Zoe Dougherty’s exhibition Virago! is a depiction of female rage through mark making techniques with paint, dominant and confrontational female figures, and motifs of blood. The women exhibited imply and exude aggressive intent or recovery from rageful outbursts, highlighted with vibrant, overwhelming colours. Blood and wounds envelop and frame the women to allow them to exist in their agony, persisting through anger and torment. Virago! is for the suppressed anger in women that longs to emerge.
My work reflects my experience as a Christian woman, exploring themes related to shame, harmful narratives surrounding sexual purity, the objectification of women’s bodies, and the male gaze within the church. I seek to celebrate women’s bodies in my work, and to allow space for women to exist and express themselves authentically.
Kayla St-Pierre:
Kayla St-Pierre is a visual artist who works mainly watercolour and oil paint. She is currently enrolled at University of Guelph for their Studio Art program. After participating in the Guelph Emerging Artists program with an exhibition at the Boarding House Gallery, she has gone on to exhibit her work at Lalani Jennings Gallery and Zavitz Gallery.
The Juried Art Show (JAS, pronounced “jazz”) is an annual exhibition of artwork from the undergraduate students of the University of Guelph’s Studio Art program. Run annually since 1968, JAS is entirely student-run, and is one of the oldest art shows of its kind in Canada. It is a long-cherished tradition of the University, a capstone of community celebration for the school’s emerging artists, and platform for professional development. The Top Ten Show is an exhibit of the ten award-winning artworks selected by the JAS jurors.
This years top ten artworks are by the following artists: Julianna Wright, Hannah Pecyna, Marjan Kaviani, Kali Stadke, Jaida Strand, Nevan, Nerine Cavadias, Wendy Bishop and Avery Riley Mckay, Emma Lippert and Neluka Ameresekere, and Anna Golding.
This body of work emphasizes experimentation and risk-taking. After having a static and predictable method of art-making for the past few months, I decided to use this exhibition opportunity to push myself to do something different. Perhaps this was a stupid decision, but we all make those every now and again, don’t we? Recently in my work I have been referencing art historical paintings as a way to get the paint onto the canvas. Additionally, with this body of work I tried to do something different or use a new technique in each painting. As I said before, this is kind of an experiment, people.
The most obvious difference between these paintings and my past work is the absence of ornamentation. Removal of the ornament has been suggested to me multiple times ever since last semester. I’ve decided to use that feedback to challenge myself. It forces me to focus more on the marks. Their size, their speed, their shape, their palette, how they might interact with each other. With the ornamentations it was easy to hide bad decisions, and with some of my old work I can’t help but be reminded of the saying: “lipstick on a pig”.
Here, everything is out in the open. There’s not a lot of room to hide.
Sarah Fabrizi is a painter from Oakville, Ontario. She is in her final year of the Arts and Sciences program at the University of Guelph, studying Studio Art and Biology.
