From above, a photo of two people touching a sprawling textile sculpture called Big Softie. They reach into the guts, which are soft and dimpled and made from stuffed knee socks and nylon stockings, and examine the Unidentified Remains that are scattered amongst them. At the centre lies Big Softie’s heart, a red patchwork soft sculpture with tendrils extending outward.

Sean Lee

Sean Lee is an artist and curator exploring the notion of disability art as the last avant-garde. Orienting towards a “crip horizon”, he is interested in the transformative possibilities of crip community building and accessible curatorial practices that desire the ways disability can disrupt.

Sean holds a B.A. in Arts Management and Studio from the University of Toronto, Scarborough and is currently the Director of Programming at Tangled Art + Disability. He also is a member of the Ontario Art Council’s Deaf and Disability Advisory Group and Toronto Art Council’s Visual Arts / Media Arts Committee.

Find out more

Eric Chengyang

Eric Chengyang is a Toronto-based interdisciplinary artist of Chinese-Canadian background. They works in the hybrid of traditional, digital, and ephemeral mediums: including painting, photography, time-based media, installation, and design. By integrating research with experimental, hybrid art forms, Eric explores themes of symbiotic duality and paradox. In particular, their recent works examine the intersections and proximity between the East and the West, while challenging the conventional notion of the West versus the East or the East-West dichotomy.

Find out more

naakita feldman-kiss

naakita feldman-kiss (they/she) is a queer artist of mixed heritage who lives and works in Tio’Tia:Ke / Montreal, QC. Their practice examines changing landscapes, contemporary applications of oral transmission, and intergenerational memory as forms of inheritance and legacy.

Find out more

Pansee Atta

Pansee Atta is an Egyptian/Canadian artist who lives and works on unceded Anishnaabe territory in Ottawa, Ontario. Using new media such as animation, 3d printing, laser cutting, and virtual/augmented reality, her practice explores issues of representation, migration, authenticity, and decolonization. Her recent work has sought to reappropriate Orientalist art to imagine strange, monstrous, and excessive bodies, as well as intervening upon images of artifacts around which campaigns for repatriation have been waged as a means of imagining the decolonization of the museum.Find out more
Nadège Grebmeier Forget, Rendering on View (Betty Rowland meets Angela Aames). Performed on May 27th 2017 as part of the installation Walls of Wind: The mirroring and rendering. Created in the context of the group exhibition I've Only Known My Own curated by Nicole Burisch and presented from April 21st to June 10th 2017 at OPTICA, Montréal. Photo: Paul Litherland.

Nadège Grebmeier Forget

Engaged in Montreal’s visual and live arts community since 2007, performance artist Nadège Grebmeier Forget embraces interdisciplinarity and curation in her practice. She is the first daughter of a runner-up 1960’s California Beauty Queen and has, among other things: enacted works for Karl Lemieux (The Seven Last Words, 2018), Teresa Margolles (La Promesa, 2017), Dana Michel (Balls, 2016), Olivia Boudreau (Standing Bodies, Lying Bodies, 2014), Christiof Migone (Hite Parade, 2008); collaborated with Henrike Iglesias (Sophiensale/OFFTA, 2016), PME-ART (Festival actOral/Leonard & Bina Ellen Gallery, 2014) in addition to participating in numerous events, festivals, panels, residencies and exhibitions in Canada (Québec, Ontario, Alberta, Newfoundland, PEI), the USA (Texas) and Europe (France, Germany, Romania).Find out more