WIAprojects

Divided by Natalie Piper This wood mounted digital print is from a mixed media collage that I recently created showing the circulation system of the human body divided into 3 parts. Born with a congenital heart defect meant several major surgeries were needed throughout my life; I look to examine how times of trauma especially in childhood can alter an individual. At age 12, I was given Hep C through a blood transfusion. Surgery has changed me physically for both better and worse, and mentally I had to come to understand that my body would never just be mine, it has been opened and changed by others and will always need intervention. My relationship with my own physical form is part fear, part awe and pride and dislike. I am very scarred, and each scar tells of an instance I would have to re-think my physical being. Each trauma forced change in my understanding of what it is to be able bodied. Natalie Piper graduated from the Ontario College of Art and was instrumental

Through a Glass Lightly WIAprojects @ 1313, Window Box Gallery Artists’ perspectives as persons with disabilities inform a vision of the world which can be unique - personally, visually, politically .... The series exhibition,  Through a Glass Lightly  induces the Window Box Gallery to act as a looking glass site that reflects back to the viewer changing images of the world - the seasons and times of day/night play over the window surface altering the images within. This exhibit invites others to see not only slightly askew but anew! To see our "acts" as creative offerings.  October Window Box Exhibit  Opens Oct 22, 2019 to Nov 30 where water lived Tegan L Smith Fragments from past work are framed by this map from a 2012 showcase project about the fluctuating Lake Ontario shoreline. It forms part of  Floodgates , a project which started over 20 years with memories of dam floodwaters flowing through bushes and living in Toronto near the post-Ice Age Iroquoi

CarpOs Collective The conversation of sustainability is as prevalent as always, but in the era of hype culture, is this conversation getting lost in the ever-changing- twenty-four-hour news cycle? Are we asking enough questions, or even the right questions? In a world where the system works against the cause and many world leaders turn a blind eye, how do we as individuals do more?      CarpOs Collective’s newest installation juxtaposes the idealized sustainable world against the harsh reality that is our industrialized world. Despite reality’s persistence to crash down on sustainability’s efforts, we are still hopeful. We are hopeful in the collective power of society to see the need for change. Our earth is desperate. We can succumb to the overpowering industries and suffer in a dying world, or we can persevere through the difficulties and change our collective habits. Our lifestyle choices and our consumer habits hold the most effective power against those sitting in their smog

The conversation of sustainability is as prevalent as always, but in the era of hype culture, is this conversation getting lost in the ever-changing- twenty-four-hour news cycle? Are we asking enough questions, or even the right questions? In a world where the system works against the cause and many world leaders turn a blind eye, how do we as individuals do more?      CarpOs Collective’s newest installation juxtaposes the idealized sustainable world against the harsh reality that is our industrialized world. Despite reality’s persistence to crash down on sustainability’s efforts, we are still hopeful. We are hopeful in the collective power of society to see the need for change. Our earth is desperate. We can succumb to the overpowering industries and suffer in a dying world, or we can persevere through the difficulties and change our collective habits. Our lifestyle choices and our consumer habits hold the most effective power against those sitting in their smog filled thrones.

It is said that during the Neolithic age (10,000 BC), there was a 4000-6000 year period of relative peace and stability in matriarchal cultures across Europe, where several goddess figurines have been uncovered, indicating that the feminine was revered as divine. Entitled Mala after the artist's matriarch – her maternal grandmother – the piece shines a light on cultural context and expectations of life-birthing, aiming to mend the dissociation many of us have to the feminine. The felted sculpture is of a pregnant demi-Goddess mother figure, in front of a representation of the fallen woman. The mother figure tends to herself with one hand and holds her belly with the other. The artist wishes to shine a light on motherhood and life-giving, as we find ourselves in the throes of instability on psychological, communal, and political levels, and renewed politicization of women's bodies. Sarah Katz is a published poet and fibre artist in the start-up phase of a wool-slipper s

Window into Another World Windows are a divider between one world and the next. One is instinctively drawn to its power and possibility. Is freedom just on the other side? Inside, the traveler makes her way to unknown places. This piece is inspired by Hokusai's landscapes and the paper doll cut outs from my mother’s old activity books.  Erin McKluskey Born in Ottawa, Erin is an emerging artist and illustrator working in Toronto. With a background in illustration and theatre, she creates images that exist on paper, walls, objects, spaces, and stages. Erin is interested in using imagery as an opportunity to explore the world, our environment and social issues.

BANKSIA SERRATA by Sarah Dawn Richardson Curated by Carpos Collective Window Box Gallery Gallery 1313 1313 Queen Street West, Toronto Wed - Sun, 1 PM - 6 PM I am a textile and bio-artist. I don't like the ordinary. I have a flair for the absurd, the gaudy, the surreal. I use fabrics, beads, needlework, and the use of biological beings to create visualizations of a world outside of this one. I believe art shouldn’t be confined to a visual experience. While my work is visually stimulating, my work is also experienced through tactile stimulation. My work explores the traditional ideas of craft, women's work, the hierarchy of biological beings, and the boundaries of fine arts in today’s artistic establishment. BANKSIA SERRATA was inspired by an australian plant of the same name, as well as fungi and molecular structures.   I use fabrics, beads, needlework, and the use of biological beings to create visualizations of a world outside of this one. I belie

HELEN MCCUSKER April 2019 Window Box Gallery, Gallery 1313, 1313 Queen Street West, 1-6PM Wed - Sun. A graduate of Sheridan’s Illustration Program, Helen has been making art for more than 40 years. Her main focus is on Figurative work – creating Expressionistic drawings and paintings that speak to movement, energy and the deeply personal. Helen’s Figurative work always begins with drawing from live Artists’ models – looking for the elusive ‘something’ that carries the work beyond the skill of the drawing. It is mostly created in-session, using models with whom she has worked closely over many years. She sometimes brings in outside elements – found imagery, which is then incorporated into the work to create narrative. Helen also works with Paper Engineering as counter-point to her drawing and painting, creating Abstract Pop-Up sculptures incorporating hand-painted papers and collage. Helen is a member of the Etobicoke Art Group, Neilson, Park Creative Cent

Artist: Ines Scepanovic Exhibit runs: April 3 - June 28, 2019 CWSE Hallway Gallery, 2nd Floor OISE  252 Bloor Street West, Toronto This site-specific installation uses imagery from Francois Millet's 1857 painting, The Gleaners, which depicts three impoverished farm workers collecting grain left behind after the harvest. The scale of Millet's original painting was 84cm X 112cm, a monumental size that was unprecedented in its depiction of themes of labour and poverty. The work was met with negative criticism and suspicion by the upper classes who saw this work as a glorification of the working class. Originally located by the Sessional Faculty office at OCADU, this installation repeats, in varying sizes, multiple drawings of these three figures from The Gleaners . The figures are representative of the 77 sessional instructors currently employed at the Faculty of Art. As is the case with most Canadian universities, sessional faculty are precariously employed at OCAD

Parable of the Talents Stephan Goslinski Curated by Carpos Collective Opens March 13 for the month in the Window Box Gallery, Gallery 1313, 1313 Queen Street West, Toronto. Wed-Sat 1-6 pm. ‘Talent’ as an idea has fallen from its pedestal in recent years, I think for good reason. When we praise talent, we often abstract the hundreds of hours of discipline that it took to learn how to create well, making the talented one an other in our eyes—something beyond our reach, at once prized and privileged. In my experience, this view of talent leads only to apathy and jealousy. The humility of discipline tempers both of these, and breaks the distance between apathy and excellence into discrete units of hard work, measured in days and hours, sweat and tears. However, just as I don’t believe in talent as a miracle cure, I don’t believe in discipline as internal combustion. Both of them come from somewhere; there is something that plants a seed and something that encourages us to water

Talking Wellness OCAD U! Exhibition Jan 30-April 1 2019 2nd Floor OISE  252 Bloor Street West, Toronto. Art and Design Education (ADEL): Community at OCAD University have been investigating various concerns around how we might achieve a healthier art and design education community at OCAD U. We have taken this up through personal observation and in conversation with the staff at the Health and Wellness Centre. Our intention was not to suggest definitive policy changes nor do a rigourous quantitative research but rather to explore, as artists, through personal discovery and dialogue, what we might envision as an ideal – or even imaginary – healthy community for those who study, teach and work in art and design at OCAD U. This exhibition presents creative voices in dialogic as they imagine a healthy thriving community for OCAD U. Artists/Researchers:  Jerad Beauregard, Rhys Castro, Tara Clews, Tania Costa, Hana Elmisry, Zen Huang, Cori Jin, Nataly Kais, Angie Ma, Kayle

Miguel Caba 's Repetition 3740  Opens in the Window Box Gallery Jan 15 and runs until Jan 31. Gallery 1313, 1313 Queen Street West, Toronto. Curated by Carpos Collective  An act as simple as painting a square more than 3000 times is a metaphor to describe the patterns within our lives. Repetition 3740 blurs the lines of perceived action.  Influenced by clothing manufacturing (hand dying the fabric and stitching over multiple days), the creation of this work both degraded my mental processing and built skill within the specific crafts.  By simplifying specific iterative motions, a once underappreciated job is identified by repetitive motion. A scientist testing drug samples that utilities a repeated pattern of motion is prestigious compared to a garment worker that can sew jeans yet they are essentially the same. Our biological limitations determine that we use the same motions in everything we do. Understanding the limitations of human motion allow the deconstruction o