All of my photographic work explores the role that objects play in forming personal histories. The series Forage contemplates how humans might live in harmony with nature using found organic materials in combination with images of people.
The feeling of grief produced by environmental change directly connected to one’s home environment, is known as Solastalgia. The impact of human destruction and urban sprawl on naturalized spaces in our neighbourhoods has an adverse effect on our sense of identity. Wilderness loss also causes more contact between animals and humans, and with this, the spread of viral transmission. Thus, the discussion of our own destructiveness becomes imperative at this time.
Awarded as “Artist of the year” by the Quebec-based artist collective “Les artistes pour la paix,” Aquil Virani’s collaborative art projects combine painting, drawing, filmmaking, writing, graphic design, installation, and participatory art processes and ask important questions about social and environmental justice. In 2021, he was named the first ever national artist-in-residence at the Canadian Museum of Immigration.
Virginia is a public and installation artist, currently working in Petawawa, Omàmìwininìwag -Algonquin territory. She is interested in forging a language rooted in her connection with family and the earth. Exploring the marrying of food into art with growing biological forms enveloping foraged local plant life, creating with the context of walking gently. Conversations mingle with the honouring of culture, family and connection to the land in a collaborative public walking tour of sculptures, stories and songs with traditional knowledge keepers Trish Nadjiwon-Meekins, Susan Staves (Schank) in Owen Sound of the Saukiing Anishnaabekiing (SON). She also may use a climate language of cardboard and plastic to initiate dialogue on what is next for us and the earth. Her ancestors reside in England and the Ukraine.
The conscient podcast is a series of conversations and monologues about art and the ecological crisis. This podcast is bilingual (in either English or French). Episode notes are translated.
I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.
Minoya is an artist and educator, with an educational background in linguistics and psychology. She is currently pursuing her Masters in Teaching at the Ontario Institute for Studies in Education. An advocate the healing properties of art-making, Minoya paints en plein air to ground herself during walks along the Credit River. As she began to notice changes in seasonal patterns, her practice which started as a means of meditation has turned into a series of sketches tracking the changing landscape by the Credit River in Ontario. Minoya seeks to understand the extent to which human activity affects these changes and hopes to learn how this impact can be mitigated. Through CAW, Minoya hopes to form connections with other climate action advocates to enrich both her artistic and teaching practice.
Two Birds Theatre is developing Apocalypse Play for performance in an urban park. It’s a serious comedy for terrifying times, an intergenerational auto-fictional collaboration about climate anxiety, grief and the legacy of arts activism and motherhood, created and performed by mother/daughter feminist theatre artists Natasha Greenblatt and Kate Lushington. Originally sparked by Natasha’s desire to interrogate her mother Kate’s satirical anti-nuclear performance pieces from the 1980’s (when she herself was born), this history has become especially potent now that Natasha is having her own child. Is it possible to make art and find connection, courage and community in the face of a precarious global future?
Monique is passionately dedicated to a theatrical practice as an act of resistance. Spun directly from the family-web of New York’s Spiderwoman Theater, her theatrical practice mines stories embedded in the body. Her first play Princess Pocahontas and the Blue Spots was produced in 1990 and is widely taught in curricula internationally. She is the co-editor, with Ric Knowles, of Staging Coyote’s Dream: An Anthology of First Nations Drama in English, vols. I & II and the upcoming vol.III, co-edited with Lindsay Lachance.