ANTHROPOCENE aims to explore the intersection of humanity and the natural world. The goal of this exhibition is to provide a space for people to examine how they view human dominance over nature and how their lifestyles contribute to the Anthropocene Epoch; the unit of time that describes the period that human activity has had a significant impact on the Earth’s processes and physical makeup.
Human motifs of built form, technology, and urbanism are imposed upon natural motifs of organic form, environmental interactions, and time, in manners which they both clash and synthesize.
RECOVERY FOR ME, RECOVERY FOR ALL, is an in-progress documentation of my recovery from breast reduction surgery. After my surgery in fall 2021 I developed feelings of shame and embarrassment towards my healing body. To ward off these feelings and to cope with my new body I started painting it.
Take notice of the dried blood underneath the crusted surgical tape and the scarring running down the breasts’ curve, which in some cases are misshapen and bruised. Not only are these once-thought embarrassing details present in the paintings but brazenly emphasized with bold, almost blinding colours.
I found out quickly that painting the stages of my recovery was important in tracking my physical healing, reaffirming my decision to get the surgery in the first place, and to console and resolve the abuse I’ve been feeding myself internally since the surgery, and long before that.
I will bring attention to the beauty and strength of my own body, that of which I have only recently discovered, from all stages of my recovery up to the present. Viewers will leave the exhibition with awareness and a changed perspective of the negative stigma surrounding healing bodies.
This exhibition will be as much for myself as it is for others, hence its title: RECOVERY FOR ME, RECOVERY FOR ALL.
Unwritten is an exhibition that seeks to explore the infinite possible ways that history could have played out. This work aims to subvert the expectations of a piece of art as something precious and valuable, to call back to the atrocities of the holocaust. Taking pieces from Adolf Hitler’s failed art career, drawing them into a book, then burning it, it felt like a poignant gesture and in a sense, poetic justice. The Holocaust was such a prominent and horrifying part of our history, which happened not even 100 years ago, and should not be forgotten. Rather than to reiterate the past, Unwritten calls to attention the limitless versions of history that did not come to pass due to the actions of one man with a country under his thumb. Almost asking the question; What is Hitler made it as an artist? Would the Nazis have burned so much cultural heritage? Would we have lost the millions of innocent souls? Would we even have had World War II? No matter how many different possibilities there are, we must not forget what happened and learn from the past to prevent history’s repetition.
This piece of art now ceases to exist but in a documented form through a variety of lenses-much alike most of our human history.
You can find more of Nerine’s work on Instagram @theartofnerine
Help help help is a collaborative project that utilizes our contrasting perspectives to explore gender dynamics. Through our exploration we aimed to play with the passivity of these often subjugating actions and their existence as a sort of performance.
I walk on grass rather than concrete because it’s softer. It eases me into the ground. My body resists hard, reacts to cold, dark. It tells me to go somewhere soft. So, I go home. Maybe I can be soft, maybe all I need is grass beneath my feet to be somewhere soft.
Maeve Hind is a queer interdisciplinary artist living in Guelph, ON. She is studying Studio Art and Psychology at the University of Guelph. She explores anxieties, emotions, and her urban landscape. She works primarily in painting and sculpture.
You can view more of Maeve’s work on her instagram page: @mjh_art_
The Domestic Interior is an installation that exhibits a soundscape composed of found audio clips displayed with the artist’s family kitchen table. Viewers are encouraged to sit at the table while listening to the soundscape.
Carmen Mattear is a multi-disciplinary artist who is compelled to collect media as data, and in this feat, patterns and anecdotes can emerge. The Domestic Interior is no exception. The audio is a result of sifting through different sources and combining them as a carefully constructed soundscape. Mattear believes that reality is a series of patterns, her practice revolves around seeking out these patterns.