Published Writing
Milestone Nerve - Exhibition Catalogue
May 17, 2025
Gathering a selection of sculptures, paintings, images, and site-specific interventions, "Milestone Nerve" adopts tenacity as essential to witnessing, navigating, and making sense of precarious generational shifts, collective upheaval and reckoning. This group exhibition poses how we might firmly orient ourselves in a world that changes continuously, suddenly, and even catastrophically.
Photo: Installation View of Milestone Nerve, featuring Philip Leonard Ocampo, Andrew Harding, Yan Wen Chang, Brandon Fujimagari, and Josi Smith at the Visual Arts Centre of Clarington, 2025. Photographer: LF Documentation.
Milestone Nerve - Exhibition Catalogue
May 17, 2025
Gathering a selection of sculptures, paintings, images, and site-specific interventions, "Milestone Nerve" adopts tenacity as essential to witnessing, navigating, and making sense of precarious generational shifts, collective upheaval and reckoning. This group exhibition poses how we might firmly orient ourselves in a world that changes continuously, suddenly, and even catastrophically.
Photo: Installation View of Milestone Nerve, featuring Philip Leonard Ocampo, Andrew Harding, Yan Wen Chang, Brandon Fujimagari, and Josi Smith at the Visual Arts Centre of Clarington, 2025. Photographer: LF Documentation.
Letter in C Magazine's Issue 159: Mirror Mirror
December 15, 2024
Did you know that Indigenous peoples once used hard clams to create wampum belts? After reading Nyssa Komorowski’s article “The Seashells That Saved the World” featured in C Magazine's Issue 158: Almanac, I wrote about the relationship between the clams found in the shores of Lake Superior and its connection to the First Nations community who made wampum belts from the land and for the land.
Photo: Cover of C Magazine's Issue 159, Hong Kong Documentary Filmmakers, "Inside the Red Brick Wall," 2020, film still. Courtesy of Icarus Films, The dGenerate Films Collection.
Letter in C Magazine's Issue 159: Mirror Mirror
December 15, 2024
Did you know that Indigenous peoples once used hard clams to create wampum belts? After reading Nyssa Komorowski’s article “The Seashells That Saved the World” featured in C Magazine's Issue 158: Almanac, I wrote about the relationship between the clams found in the shores of Lake Superior and its connection to the First Nations community who made wampum belts from the land and for the land.
Photo: Cover of C Magazine's Issue 159, Hong Kong Documentary Filmmakers, "Inside the Red Brick Wall," 2020, film still. Courtesy of Icarus Films, The dGenerate Films Collection.
Declassified: Terence Gower’s Case Studies of US Embassies
The Power Plant Contemporary Art Gallery, June 12, 2024
Terence Gower is an artist and academic who has spent decades researching and reconstructing the diplomatic architecture directed by the United States government during the Cold War era. In his installation, Ottawa Case Study (2024), Gower brings attention to the histories of interference and infiltration in Canadian politics while inviting us to question whether these embassies are as transparent as they project themselves to be.
Photo: Terence Gower, Embassy, 2024. Installation view: The Power Plant Contemporary Art Gallery, Toronto, 2024. Photographer: LF Documentation.
Declassified: Terence Gower’s Case Studies of US Embassies
The Power Plant Contemporary Art Gallery, June 12, 2024
Terence Gower is an artist and academic who has spent decades researching and reconstructing the diplomatic architecture directed by the United States government during the Cold War era. In his installation, Ottawa Case Study (2024), Gower brings attention to the histories of interference and infiltration in Canadian politics while inviting us to question whether these embassies are as transparent as they project themselves to be.
Photo: Terence Gower, Embassy, 2024. Installation view: The Power Plant Contemporary Art Gallery, Toronto, 2024. Photographer: LF Documentation.
June Clark: Crossings and Commemorations
The Power Plant Contemporary Art Gallery, May 22, 2024
A significant part of June Clark's practice is dedicated to creating photographic and mixed-media installations that revisit her childhood memories and experiences growing up in Harlem. In her works titled Family Secrets (1992) and Harlem Quilt (1997), Clark opens her archive and takes to the streets to witness the changes within herself and her Harlem community.
Photo: June Clark, Harlem Quilt, 1997. Photo transfers on fabric, light fixtures. Installation view: The Power Plant, Toronto, 2024. Photographer: Henry Chan.
June Clark: Crossings and Commemorations
The Power Plant Contemporary Art Gallery, May 22, 2024
A significant part of June Clark's practice is dedicated to creating photographic and mixed-media installations that revisit her childhood memories and experiences growing up in Harlem. In her works titled Family Secrets (1992) and Harlem Quilt (1997), Clark opens her archive and takes to the streets to witness the changes within herself and her Harlem community.
Photo: June Clark, Harlem Quilt, 1997. Photo transfers on fabric, light fixtures. Installation view: The Power Plant, Toronto, 2024. Photographer: Henry Chan.
"Circle of Friends" — Hangama Amiri
C Magazine, May 21, 2024
With a painterly approach to making textiles, Hangama Amiri layers and stitches together different types of fabrics to play with light, shadow, and depth. Her newest series of textiles and drawings at Cooper Cole features portraits of her closest friends, colleagues, and patrons from New Haven and New York.
Photo: Hangama Amiri, Sara Tayeb-Khalifa at Her Apartment in Manhattan, 2024. Photographer: Jessann Reece.
"Circle of Friends" — Hangama Amiri
C Magazine, May 21, 2024
With a painterly approach to making textiles, Hangama Amiri layers and stitches together different types of fabrics to play with light, shadow, and depth. Her newest series of textiles and drawings at Cooper Cole features portraits of her closest friends, colleagues, and patrons from New Haven and New York.
Photo: Hangama Amiri, Sara Tayeb-Khalifa at Her Apartment in Manhattan, 2024. Photographer: Jessann Reece.
Faye HeavyShield: The Body Leaves a Trace
Musings: MMST Publication at the University of Toronto, March 1, 2024
Uncover the intricate narratives woven into installations and sculptures, where ancestral wisdom meets contemporary expression. Delve into HeavyShield's exploration of memory and lineage, honouring her legacy as a custodian of cultural storytelling.
Photo: Faye HeavyShield. Aapaskaiyaawa (They are Dancing). 2002. Acrylic on canvas, beads and plastic filament. Installation view at the MacKenzie Art Gallery, Regina (collection of MAG, Regina; photo by Don Hall, courtesy MAG). Source.
Faye HeavyShield: The Body Leaves a Trace
Musings: MMST Publication at the University of Toronto, March 1, 2024
Uncover the intricate narratives woven into installations and sculptures, where ancestral wisdom meets contemporary expression. Delve into HeavyShield's exploration of memory and lineage, honouring her legacy as a custodian of cultural storytelling.
Photo: Faye HeavyShield. Aapaskaiyaawa (They are Dancing). 2002. Acrylic on canvas, beads and plastic filament. Installation view at the MacKenzie Art Gallery, Regina (collection of MAG, Regina; photo by Don Hall, courtesy MAG). Source.
Aria Dean: Slaughterhouses and Simulations
The Power Plant Contemporary Art Gallery, December 19, 2023
American artist and writer Aria Dean focuses on the slaughterhouse as a site and subject of interrogation within her video installation, Abattoir, U.S.A.! (2023). Although meat production is often banished to the outer edges of our cities and psyches, Dean challenges us to think critically about the powers at play within this institution.
Photo: Aria Dean, Abattoir, U.S.A.!, 2023. Installation view: "Abattoir, U.S.A.!", The Power Plant Contemporary Art Gallery, Toronto, 2023. Photographer: Toni Hafkenscheid.
Aria Dean: Slaughterhouses and Simulations
The Power Plant Contemporary Art Gallery, December 19, 2023
American artist and writer Aria Dean focuses on the slaughterhouse as a site and subject of interrogation within her video installation, Abattoir, U.S.A.! (2023). Although meat production is often banished to the outer edges of our cities and psyches, Dean challenges us to think critically about the powers at play within this institution.
Photo: Aria Dean, Abattoir, U.S.A.!, 2023. Installation view: "Abattoir, U.S.A.!", The Power Plant Contemporary Art Gallery, Toronto, 2023. Photographer: Toni Hafkenscheid.
Politics, History, Strategy: Playing Chess with Anna Boghiguian
The Power Plant Contemporary Art Gallery, November 22, 2023
Informed by her extensive research and travel, Egyptian artist Anna Boghiguian brings difficult truths to light as a way of understanding how historical events and figures have shaped our world today. Through paintings, drawings, and installations, she invites us to process the global tragedies and injustices of the twentieth century.
Photo: Anna Boghiguian, The Chess Game, 2022-23. Courtesy the artist. Installation view: "Time of Change", The Power Plant Contemporary Art Gallery, Toronto, 2023. Photographer: Toni Hafkenscheid.
Politics, History, Strategy: Playing Chess with Anna Boghiguian
The Power Plant Contemporary Art Gallery, November 22, 2023
Informed by her extensive research and travel, Egyptian artist Anna Boghiguian brings difficult truths to light as a way of understanding how historical events and figures have shaped our world today. Through paintings, drawings, and installations, she invites us to process the global tragedies and injustices of the twentieth century.
Photo: Anna Boghiguian, The Chess Game, 2022-23. Courtesy the artist. Installation view: "Time of Change", The Power Plant Contemporary Art Gallery, Toronto, 2023. Photographer: Toni Hafkenscheid.
Abdelkader Benchamma: Drawing Infinite and Invisible Realms
The Power Plant Contemporary Art Gallery, November 1, 2023
Abdelkader Benchamma is a French artist who explores the mysteries of geological time and the universe through his large-scale, delicately crafted, and intricate drawing installations. Through his gestural marks and immersive environments, Benchamma unveils entire worlds for us to step into.
Photo: Abdelkader Benchamma, as above, so below, 2023. Commissioned by The Power Plant Contemporary Art Gallery, 2023. Courtesy the artist and TEMPLON, Paris — Brussels — New York. Photographer: Toni Hafkenscheid.
Abdelkader Benchamma: Drawing Infinite and Invisible Realms
The Power Plant Contemporary Art Gallery, November 1, 2023
Abdelkader Benchamma is a French artist who explores the mysteries of geological time and the universe through his large-scale, delicately crafted, and intricate drawing installations. Through his gestural marks and immersive environments, Benchamma unveils entire worlds for us to step into.
Photo: Abdelkader Benchamma, as above, so below, 2023. Commissioned by The Power Plant Contemporary Art Gallery, 2023. Courtesy the artist and TEMPLON, Paris — Brussels — New York. Photographer: Toni Hafkenscheid.
Olinda Reshinjabe Silvano: Finding Solidarity with Indigenous Communities through Ancient Shipibo-Konibo Practices
The Power Plant Contemporary Art Gallery, September 21, 2023
At a young age, Silvano learned kené, an ancient art form made by the Indigenous women within her community. Through her kené paintings and collaborative mural installations, she teaches others about the ancestral and spiritual practices of her people.
Photo: Olinda Reshinjabe Silvano at The Power Plant Contemporary Art Gallery. Photographer: Hyerim Han.
Olinda Reshinjabe Silvano: Finding Solidarity with Indigenous Communities through Ancient Shipibo-Konibo Practices
The Power Plant Contemporary Art Gallery, September 21, 2023
At a young age, Silvano learned kené, an ancient art form made by the Indigenous women within her community. Through her kené paintings and collaborative mural installations, she teaches others about the ancestral and spiritual practices of her people.
Photo: Olinda Reshinjabe Silvano at The Power Plant Contemporary Art Gallery. Photographer: Hyerim Han.
Ella Gonzales & Sami Tsang: Reconciling with Displacement through Personal Narratives
The Power Plant Contemporary Art Gallery, August 2, 2023
As part of The Power Plant’s summer exhibition, In Parallel, two artists explore their cultural identities, migration stories, and past traumatic experiences through their art-making.
Photo: Installation view of in parallel, The Power Plant, Toronto, 2023. Photographer: Henry Chan.
Ella Gonzales & Sami Tsang: Reconciling with Displacement through Personal Narratives
The Power Plant Contemporary Art Gallery, August 2, 2023
As part of The Power Plant’s summer exhibition, In Parallel, two artists explore their cultural identities, migration stories, and past traumatic experiences through their art-making.
Photo: Installation view of in parallel, The Power Plant, Toronto, 2023. Photographer: Henry Chan.
Kapwani Kiwanga: Reframing Spaces of Power and Finding Agency for the Natural World
The Power Plant Contemporary Art Gallery, July 19, 2023
This article highlights key moments in Kapwani Kiwanga's prolific artistic career, from her first institutional exhibition at The Power Plant Contemporary Art Gallery in 2017 to being the first black woman artist to represent Canada at the 2024 Venice Biennale.
Photo: Kapwani Kiwanga: A wall is just a wall. Installation view: The Power Plant, Toronto, 2017. Photographer: Toni Hafkenscheid.
Kapwani Kiwanga: Reframing Spaces of Power and Finding Agency for the Natural World
The Power Plant Contemporary Art Gallery, July 19, 2023
This article highlights key moments in Kapwani Kiwanga's prolific artistic career, from her first institutional exhibition at The Power Plant Contemporary Art Gallery in 2017 to being the first black woman artist to represent Canada at the 2024 Venice Biennale.
Photo: Kapwani Kiwanga: A wall is just a wall. Installation view: The Power Plant, Toronto, 2017. Photographer: Toni Hafkenscheid.