Self-Similar

Place Holder

Culture/Nature

Unfinished

Undefined

Habitat Vegas

Street Art

Steel Town

Signal Box

 

 

 

 

 

 

 

Artist Statement

Throughout my career, I have placed my art production in its social context. My practice includes community collaborations, collective creation, artists’ exchanges and interactive projects. As an activist, I believe in the potential of art and artists, to effect social change. Having moved away from overt “political” imagery in the nineties, I initiated a long-term hands-on intervention with culture and nature on an abandoned Ontario farm in 1999. Last year, I exhibited photographs of the work, inviting viewers to print their definitions of “culture” and “nature” beside my images. Habitat Vegas was created as an experiment in social media interactivity, and will be presented during Contact 2012 as a special project of Bank on Art from May 1 - 31, at 952 Queen Street West in Toronto.

 

Below:

Political Art Through the Ages, 1986-2012 comprises a series of re-assembled etchings from the eighties.  As a volunteer with the Nicaraguan Ministry of Culture, I taught drawing at the art school in Managua and worked on popular education projects at cultural centres throughout the country. The Sandinista revolution inspired much political art and the creation of murals by local and international art brigades. The conservative government that ousted the Sandinistas made the destruction of murals one of their immediate priorities.  Grey was the colour they chose to paint over the murals, and to me the grey generally symbolizes art trends in neo liberal and neo conservative era. What breaks through the grey are not only remnants of the old, but new spaces for change.