2019 - August 2022 Programming
Opens Oct 22, 2019 - Nov 30, 2019
by Natalie Piper
|Photos courtesy of Churla Mitchell|
This piece grew out of a need to come to terms with a traumatic period in my life. I was entangled in a relationship with someone who was badly addicted to crack cocaine. By the time I discovered this, it was extremely difficult to disentangle myself from the relationship and it took a lot of willpower and strength to finally end it permanently. In Breaching Nirvana, I convey the feeling of freedom that I finally achieved.
Churla Mitchell is a multi- media, bi-polar performance and visual artist and maker of things. She studied painting and sculpture at The Alberta College of Art and Fashion Design at George Brown College. Her medium use includes watercolour, indigo and other natural dyes, wax encaustic, embroidery, knitting, crystals, oil paint and plant matter. She grew up under the influence of the Northern Lights in Alberta and moved east at the age of nineteen to follow her artistic dreams. She reads Runes as a divination method for personal spiritual growth and has a crystal practice as well as being an avid gardener.
ARTIFACTS (Pam Patterson & Leena Raudvee)
Window Box Gallery @ Gallery 1313
1313 Queen Street West
Feb 17 – April 30, 2022
of ARTIFACTS in performance.
Photos by Clement Kent
Objects representative of ARTIFACTS’ tasks, installed in front of the ground, provide placeholders for the bodies of Raudvee and Patterson. The objects become figures central to, rather than illustrative of or adjunct to, the narrative. The objects hung seemingly “straight”, perform askew, counter to the norm: the broomstick becomes a support aid, the dustpan refuses to hold that which it collects… and in doing so the installation explicitly references so much about Patterson & Raudvee's resilience as disability artists.
Thanks to the Ontario Arts Council for their support for the work of disability artists.
Josephine Guan is a Chinese-Canadian artist and researcher. She is interested in cultural understandings of health and disability and knowledge that stems from lived experience. She has recently extended that practice into documenting the lived experience of others through different modes of storytelling for awareness and change. Her work often takes form as multi-media and assemblage.
My brain is sometimes leaky – sometimes foggy. That means constantly negotiating how much I do in a day. I survived my way through grad school propped up by the central premise of Tricia Hersey’s The Nap Ministry: that rest is a tool for liberation and healing. I resist the urge to perform busyness and resist testing the limits of my body by napping. I ask for a collective slowing down so that I can keep up on things that matter.
This piece is part of a master’s research project investigating the lived experience of acquired brain injury.
Artists' Book & Research Paper: https://drawingfromexperience.cargo.site/
OCAD University also wrote a piece about the project: https://www.ocadu.ca/news/ocad-u-researcher-explores-drawing-way-process-change-after-brain-injury
Culminating Event: Presented by WIA@1313 & Tangled Arts & Disability
We CAN Workshop: A Disability Arts Pandemic Debrief
Thursday, August 11, 2022, 7-8.30PM ZOOM
Presenters: Josephine Guan, ARTIFACTS (Pam Patterson & Leena Raudvee) and Sean Lee (Tangled Arts & Disability).
Petra Kuppers (2022) in Eco Soma writes…
The year 2020 marked the start of the global corona virus pandemic… [P]ractitioners found themselves shifting ground in viral times… (5) I… love my instability, to be in ocean waves, on uneven forest ground… I aim to get myself into encounter zones where I feel difference close up, skin to skin, where a lack of balance is an aesthetic strategy. In the pauses when I rest, I have enough time to contemplate the implications and to witness the world… (4)
Many of us in the disability arts community have been unbalanced by this pandemic. This has generated moments where we have felt fragile, uncertain, and vulnerable. Spaces have opened – and closed. In alluding to Kupper’s ocean wave imaginings, the tide now recedes, and we are, individually and collectively, presented with a time to debrief and witness how we now present (in) our diverse worlds.
We invite this complex creative disability arts community to come and workshop with us as we “contemplate the implications” of this (almost) post-pandemic time.
Key considerations come to mind:
What have been the individual and collective losses and gains from this global pandemic? What are the potentials/realities here? How has/will this time affect our ideas, images, and strategies for practice? How (well) can we now access each other and “gallery”? How will we maintain our agency and potency as a community - be felt close up, skin to skin - as we persist in unbalancing, and challenging the limitations of, an abled world.