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.
From the Earth: Sun & Stone is an exhibition that explores human relationships with nature, with an emphasis on form, feeling, and experience. Through photography, sculpture, and painting I explore my own relationship with natural objects and aim to gain a better understanding of the earth and my place in the natural world. A major emphasis for each of these projects was in the making and the handling of objects, paying special attention to how they feel, the sounds they make, the processes they endure, as well as how they look. I examine what we can learn from working with the earth, and the connection that comes with it.
Memory Politics is an investigation of identity through the inheritance of surviving memories and the generation effects of colonialism. Due to forced immigration and colonialism, self-identity is affected by the survival and mourning of culture, language, trauma, and family. Through digital manipulation, such as glitching and data moshing, I will expose the vulnerabilities and disruption caused by passing down knowledge. The goal of this work is to provide hope and healing for the diaspora and encourage the labour of individual and communal efforts to connect and pass on tradition, culture, and language.
Fearless Contact is a three part video installation that documents experimental performance works completed during the 2020/2021 school year. Each piece involves engaged physical action, using the body as a canvas and sculptural tool in order to communicate. There is an emphasis on line and gesture, with emerging connections to consciousness, catharsis, touch, the body, vulnerability, and memory. These performances are a release of fear and shame, and an invitation to engage with the awareness of the self in a healing space. There is an allowance for whatever happens to come out of a session, sort of like artistic improvisation.
Title piece Fearless Contact is the first of the experimental series, and sparked further investigation into vulnerability and reconciliation with the body. It was inspired by the desire for visceral pleasure while experiencing prolonged isolation, and a return to childlike play and freedom. The second work in the series titled Painbody is a reflection on the artists experience with chronic pain, which is documented directly on the body’s landscape. Varied gestural applications of the material and colors mirror the cellular memory of pain. Here she also explores various video editing techniques of layering and color adjustment. The final piece Infinity Noodle continues the exploration of bodily pain and vulnerability, using repetitive gestures to engage and highlight excruciating experiences of disordered eating and restriction.
More work can be found at www.clairestewartwright.ca
“tmi” is a collaboration between Maeve Hind and Alexa Collette that came to life with the help of Justin Meyers, their CNC machine technician. Through experimenting with digital drawing and a CNC (computer numerical control) machine, they were able to create bodies reflective of the many states involved in being human. Bringing together paintings as well as sculpture and technology, the process has been integral in creating the works.
The show was prompted from reflection on the experience of shifting states of being, bringing to light what might be invisible beneath the surface of the collective yet individual human experience. In this way, they challenge the expectations of what is socially acceptable to display and discuss in public.
Derived from personal experiences with invisible illness and shifting levels of ability, the figures in the show exemplify the range of human emotion and feeling within experiences. “tmi” promotes the notion of vulnerability as a strength that everyone has the ability to explore. In accepting these changing states, they are able to connect with a wider audience and genuinely represent themselves as people moving through the world.
The goal is to provide a sense of visibility that meets the viewer exactly where they are, no matter the state.
So the question we leave you to ponder is, Do you think this is tmi?