Carina Magazzeni is a femme settler of Italian-Scottish descent, born and raised in Onguiaahra-Niagara, Ontario, situated on Haudenosaunee and Anishinaabe territory. She holds an MA in Cultural Studies from Queen’s University, a Graduate Diploma in Event Management from Niagara College, and a BA Honours in History of Art and Visual Culture with a Concentration in Curatorial Studies from Brock University. Carina maintains an independent curatorial and artistic practice rooted in critical collaboration. Her projects to date have emphasized curating as an act of care, valued relationships, and have been informed by methods of slowing down processes of witnessing. Her work is driven by queer, feminist and decolonial politics and strategies within and beyond gallery spaces. Carina is a co-founding member of various artist collectives, including Small Potatoes Press, think tank, and The Hysterics Collective.
Abby Nowakowski is a queer interdisciplinary artist and art educator who is driven by curiosity and community. Overtly passionate about the arts, Abby works to spread advocacy for care, share stories, and make space for radical softness. Their practice extends into art facilitation with a range of collaborations including workshops, performances, and community weaving opportunities. They currently live and work as an uninvited guest on the traditional land of the Haudenosaunee and Anishinaabek.
GHY Cheung is a Hong Kong-born writer and artist. He has produced work for the Union Gallery in both capacities and previously served as the Co-Chair of Modern Fuel Artist-Run Centre's Board of Directors. GHY is one-half of the artist duo Tear Jerkers, with Michelle Bunton, and one-quarter of Small Potatoes Press, with Ella Gonzales, Michelle Bunton, and Carina Magazzeni. His research spans public art and interventionist practices; spatial theory; queer and feminist theories; and utopian studies. Across his inquries, he centres queer kinships as method, archive and sustenance.
Jung-Ah Kim is a filmmaker and researcher from Seoul, South Korea currently in the first year of her PhD in Screen Cultures and Curatorial Studies at Queen's University. Prior to coming to Queen's, she completed an MFA in Documentary Media in Chicago and her films have been shown in various venues and festivals across North America and South Korea. Her interests lie in nonhuman/post-human agencies, automation, and tactile tendencies in moving image production and curation. Having been working with and influenced by fibre arts community in Kingston during this summer, she is recently concerned with integrating the concept of weaving and textile design in her moving image practice.
Niki Boytchuk-Hale is entering her fourth year of Undergraduate studies at Queen’s University, where she is concurrently completing a BFA and B.Ed. Niki uses her artistic practice in printmaking and painting to reflect on her relationship with land and Water as a Coast Salish and settler woman. She engages in Indigenous rights advocacy through community-building projects, such as her mural on a reimagined campus consent culture, A Love That Clings.
Akosua Adasi is a second-year MA student in the Department of Art History and Art Conservation at Queen’s University. She specializes in Black feminist theory and contemporary Black art in visual and popular culture, focusing on the construction of the Black body as it relates to femaleness and hybridity.
Yashfeen Afzaal is a first-year Bachelor of Arts Honours student at Queen’s University with plans to major in Art History. She was born and raised in Markham, Ontario and has a deep fascination with art history, especially regarding the relationship between fashion and art and how the two interact with one another. She is interested in exploring the cultural and social changes that have occurred in fashion and how that has influenced us in modern-day society.
Lauren Smart is an interdisciplinary artist from Keswick, Ontario. She is currently in her third year at Queen’s University working towards her BFAH and BEd. Working primarily in oil paint, yarn, and found-object sculpture, her practice examines what being vulnerable and honest with a sense of humour looks like. Her projects to date have been deeply personal as a means of reflection, self discovery, and self care.
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