Visual Arts

Permanent URI for this collectionhttps://hdl.handle.net/10315/27620

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Access status: Open Access ,
Playing House
(2026-07-24) Presutto, Andrew Robert; Wong, Joy
Playing House is a research-creation project that examines how masculinity and queerness are shaped through the aesthetics, objects, and spatial codes of the domestic interior. Stemming from memories of growing up in a home structured by traditional gender expectations, this thesis asks how an illustrative and material practice might negotiate masculinities and reimagine the childhood home as a site of softness, impartial play, and queer possibility. Drawing from feminist and queer theory, autotheory, object theory, and craft studies, it considers how objects and rooms orient bodies toward—or away from—ways of belonging. This project reconstructs memory as a speculative environment through a series of three works: Birch Vignettes, a collection of laser-cut installations that reconstruct childhood rooms; Tufted Troves, hand-tufted objects which transform fragile decor into plush forms; and Suminagashi Schematics, a synthesis of ink marbling, floor plans, and textiles used to speculate on how gender can be reorganized within space. In the process of making, identity is understood as continually renovated, memory as re-codable, shame as capable of softening, and inadequacy as becoming a tool for heutagogy and play.
Access status: Open Access ,
Vows to Water: An Artistic Exploration of Iranian Ritual and Resilience
(2026-07-24) Saramiforoshani, Laleh; Campbell, Jessica
This paper accompanies my MFA thesis exhibition, Vows to Water: An Artistic Exploration of Iranian Ritual and Resilience, held April 20–24, 2026 at Gales Gallery, York University. Amid Iran’s severe water crisis, characterized by drying rivers, lakes, and groundwater depletion, this research-creation project investigates the enduring legacy and contemporary relevance of Iranian rain-summoning rituals. As a descendant of water guardians (Mirabs), I examine how these rituals have persisted through centuries of cultural, religious, and political change, and how their reimagining can address ecological crisis and cultural resilience. Using a practice-based research-creation methodology that integrates installation, performance, video projection, and autoethnography, I created two interconnected works: a performance that reconstructs elements of rain-summoning ceremonies (drawing on wish-tree traditions) and a large-scale installation of seven human-figure fabric sculptures and a tree, animated by projections of endangered water surfaces. I argue that rain-summoning rituals function as evolving cultural strategies for responding to climate crisis. Through this artistic intervention, the project preserves endangered traditions while contributing to broader discourses on collective memory, environmental justice, and resilience. Key words: rain-summoning rituals, Iranian water crisis, research-creation, performance art, installation art, cultural resilience, ecological art, Mirab heritage, diasporic practice.
Access status: Open Access ,
Rules of re-Semblance
(2026-07-24) Atanasoff, Andrew Hayden; Armstrong, David Scott
This paper supplements the series of pieces in the thesis exhibition, Rules of re-Semblance. Fascinated with the everyday, this body of work aims to draw attention to the things that surround us that are often overlooked. It consists of collections of simple everyday items possessing a semblance of ‘junk’. Meticulously re-created by hand following a set of self-imposed rules and displayed in a gallery setting, this work aims to transform the ordinary into a subject of significance worthy of attention, prompting viewers to slow down, look closer, notice, and consider more. In this, it is hoped the viewer will discover brilliance, beauty, and meaning within the unexpected, recognizing that what we often dismiss as junk can connect us to our past, our identity, and our shared human experience. Ultimately, it is hoped this work will cultivate a deeper appreciation for the overlooked elements of our daily existence, encouraging more attentive and mindful relationships with and within the material world in which we live.
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온전히, as is. At tapos: Interweaving Fragmented Narratives through Diaspora-as-Methodology
(2026-07-24) Kim, Hyemin; Largo, Marissa
This research-creation project examines the complexity of diasporic identity through the lens of the author’s trajectory—born in Korea, raised in the Philippines, and currently residing in Canada. Challenging the Canadian ideology of multiculturalism, which often flattens cultural differences into reductive categories, the work explores narratives that are "illegible" to conventional frameworks. The project employs "diaspora-as-methodology ," using fragmentation and personal narrative to structure a critical inquiry into nonbelonging and cultural multiplicity. The thesis culminates in a solo exhibition, 온전히, as is, featuring two primary installations: 온기 (Warmth), which utilizes Korean onggi vessels and soundscapes to metaphorically "ferment" memories, and Mga Santan In Bloom, which weaves 3D-printed flower beads using traditional Korean maedeup (매듭) to transform a Filippino santan flower bracelet-making communal ritual into scalloped, undulating map of communal care. By interweaving linguistic opacity and fragmented histories, the work positions the diasporic body as a site of constant motion, generating nuanced articulations of identity that resist simplification while embracing the inherent fluidity and multiplicity of the diasporic experience.
Access status: Open Access ,
Seasonless: Suturing the Gaps of an Environmental Decoupling
(2026-07-24) Sultana, Asma; Couroux, Marc G.
"Seasonless" is a textile-based interdisciplinary installation and MFA research-creation thesis project that confronts the profound physical, psychological, and cultural impacts of climate change, with a particular focus on Bangladesh—one of the world’s most climate-vulnerable nations—while extending resonance to my adopted homes in England and Canada. By blending autobiographical narrative, sustainable material practice, and diasporic perspective, "Seasonless" serves as an elegy for a seasonless world. Drawing on my personal experiences of disrupted seasonal cycles, witnessed during field research, the work mourns the erosion of ecological integrity and cultural heritage in the Anthropocene. Rooted in the traditional Bengali quilt-making technique, the installation transforms the Gallery into an immersive, body-like space that evokes Timothy Morton’s concept of climate change as a “hyperobject”. Large-scale fabric works incorporate photo transfers, Bangladeshi jute fibres, repurposed materials, dry foliage, and palm-leaf hand fans. Most intimately, I sew with strands of my hair —a biomaterial carrying my DNA—to stitch organic, fractal forms inspired by human organs. This act of stitching metaphorically enacts healing, mirroring surgical suturing and nature’s regenerative processes. Guided by Janine Benyus’s principles of biomimicry—learning from nature as model, mentor, and measure—the project positions the human body as both microcosm of the planet and agent of its potential restoration. A call for reciprocity and mindful attention to the living world, "Seasonless" advocates a shift from exploitation to biocentric care, countering what Amitav Ghosh terms “the great derangement”—the collective denial and failure of imagination surrounding the climate crisis. Through slow, affective immersion, the installation invites viewers to recognise the intertwined fates of bodies and ecosystems, fostering contemplation, dialogue, and ethical awakening.
Access status: Open Access ,
Edges are a Shared Contour: A Formalism for Future Collaborations
(2026-03-10) Harbridge, Maegan Elise; Daigneault, Michel
Edges Are a Shared Contour: A Formalism for Future Collaborations explores abstract painting as a critical field of inquiry and a method for entangled, more-than-human perception. Departing from the modernist framework of aesthetic autonomy and medium specificity, this dissertation proposes an expanded formalism rooted in embodied, processual, and reparative forms of attention. Engaging thinkers such as Karen Barad, Gilles Deleuze, and Daniel Neofetou, it considers how painting might operate not only as a visual language but as a practice of knowledge-making that resists closure, extractivism, and representational finality. Drawing from my own research-creation practice, this dissertation grounds its arguments in formal analysis of material processes: layering, erasure, gesture, and provisional mark-making. These techniques are explored as methodological refusals of hierarchy between form and content, surface and depth, viewer and object. Through engagement with the works of Amy Sillman, Mark Bradford, Julie Mehretu, Joan Mitchell, Helen Frankenthaler, and others, I argue for abstraction as a site of critical friction—a space where affect, history, and subjectivity fold into one another. The project introduces care/full looking as a reparative mode of perception that values slowness, uncertainty, and mutual responsiveness. Abstract painting becomes here not a retreat from meaning but an opening into multiplicity—where attention is shaped by what resists immediate comprehension. In theorizing edges as shared contours, this dissertation reimagines form as a relational threshold—a fractal curve—suggesting that painting can act as a collaborative interface between human and nonhuman, body and environment, past and future. Ultimately, it positions abstraction not as a formal tradition to preserve but as a continually unfolding terrain of speculative and collective inquiry.
Access status: Open Access ,
Low and Slow
(2026-03-10) Tetrault, Ella; Couroux, Marc G.
Low and Slow investigates how video and performance can cultivate alternative modes of ocean-based education and advocacy. Working across four interconnected modalities, the dissertation considers how research creation in visual art can shift human–ocean relations by reorienting attention, sensation, and storytelling. The first chapter examines the psychological, cultural, and capitalist implications of remaining on the ocean’s surface. Using the 2019 Wish Whale performance as a point of departure, it analyzes three forms of surface encounter: the ocean’s visible threshold; the living or deceased bodies of marine mammals; and Ron Broglio’s theorization of surface phenomenology as a site of interspecies meeting. Chapter two moves just below the surface through transitional and boundary objects as catalysts for oceanic research. Through interviews with artists and scholars, the chapter develops a set of video vignettes and interviews shaped around a series of to-scale ceramic whale eyes exchanged for collaborative responses. The third chapter dives further, exploring states of being lost and resurfacing—both materially and metaphorically—through six letters addressed to a humpback whale named “Ursula.” Interwoven autobiographical narratives and oceanic disappearance stories draw on Astrida Neimanis’ Bodies of Water to frame a feminist posthuman hydrocommons. The final chapter turns inward, tracing the physiological and sensorial transformations of freediving. Designed as a meditative performance script, the chapter reflects on bodily change, Eva Hayward’s concept of “fingeryeyes,” and the regenerative capacities of starfish in relation to trans embodiment. All practical components are housed within a virtual ocean environment, enabling viewers to navigate texts, videos, performances, and sculptures. This evolving space serves as a platform for future artworks and collaborations oriented toward oceanic care and conservation.
Access status: Open Access ,
Bound by Margins, Rested in Rivers: How artists write, visualize, perform, practice and theorize community-based artworks
(2026-03-10) Wang, Zi; Largo, Marissa
This paper accompanies my MFA thesis show, Bounded by Margins, Resting in Rivers, exhibited from April 16–25, 2025, at Gales Gallery, York University. It encapsulates an inquiry into how artists write, visualize, perform, practice, and theorize community-based artworks. Since 2022, I, alongside my mother, artist Zhu Dandan, have engaged with Ontario’s diverse neighborhoods, Richmond Hill, Scarborough and Toronto, working with 90 community members, primarily visible minorities, and immigrants, through our shared workshop series, Project Cocoon. Our workshops employ an object-biography approach, harnessing visual, audio, and collaborative art-making to amplify memory-making. The thesis show, featuring mixed-media installations, artist books, prints, and performances, embodies these narratives, while this paper articulates their conceptual and ethical underpinnings. Facilitation, I argue, is not neutral; it navigates power dynamics, institutional constraints, and ethical tensions. Rooted in the diaspora context, my practice prioritizes care, dialogue, and openness to the unknown, fostering a relational aesthetic that resists dominant frameworks. Together, the show and paper explore how community-based art gains legibility and integrity, weaving a living collection of shared resilience that bridges personal and collective experience.
Access status: Open Access ,
Plural Loyalties
(2025-11-11) Yu, Yangqingqing; Lau, Yam K.
In the context of the past few decades of globalization, cosmopolitanism is a contested notion. Major cities tend to be where protean and nascent forms of cosmopolitanism are practiced, due to their job opportunities, diverse communities, and a presumed and relatively open attitude towards otherness. Nation-state borders are often the presumed basis of loyalty; upon this setting, Jasmine’s thesis exhibition in conjunction with this supporting paper draws together critical theory, personal stories and found image close-readings; and manifests materially in forms of mixed media installations. Found images share qualities with the immigrant psyche, which is marked by gestures of flattening and decontextualization, both external, through stereotypes and expectations casted upon them, and internal, through divorced identities, citizenships, and relational roles. The immigrant experience, in which one is uprooted from a previous and ghostly lingering life, while the new life abroad is this overwhelming situation: an “it” that one doesn’t know what it is nor how to be in it. Reciprocally, the immigrant figure has the same effect on nation-states; their in-between and partial adaptation/integration is an abject situation that constantly demands ongoing reassessments, confrontations, and conciliations of norms and tolerance. Jasmine examines phantasmagoric images of “the good life”, interrogates the immigrant’s deterritorializing potentials, and teases out their psychic attachments to sites and strategies of being deliberately out of place. The project of the ordinary cosmopolite, or the transnational and conditionally mobile subjectivity, grapples with plurality, which is an inescapable means of survival. The tendency to do so will only grow over time, as the economy and globalization demand it. Wading through and navigating the multitude of affiliations and positionalities within power structures, plural loyalties is choosing to adapt to a complex model of identification, making our cruel and self-detrimental attachments to people, sites, objects, and promises survivable and sensible.
Access status: Open Access ,
"Strange Mouth Feel"
(2025-07-23) Mills, Julie Delaine; Cumming, Robyn
‭“Strange Mouth Feel” explores how imagery historically used to depict otherness‬ ‭can be reclaimed and celebrated through performance and embodiment. I do so to‬ ‭contend with my own identity through a satirical lens. This research-creation project‬ ‭examines the history of abject depictions in medieval European art, focusing on‬ ‭gargoyles and elements of gothic architecture as subjects that represent hybridity and‬ ‭fluidity. The artworks accompanying this paper manifest as interdisciplinary sculptural‬ ‭objects that are activated through live performance. During scripted performances, I‬ ‭employ practical effects makeup and choreographed movement to embody the image of‬ ‭the gargoyle. Humour is embedded within the work as a tool to confront issues that are‬ ‭unpleasant, controversial, or frightening. Throughout the exhibition, sculptural moments‬ ‭that represent drainage systems—such as toilets, gutters and drains—are reimagined‬ ‭as portals. The narratives and characters developed in this research draw on my own‬ ‭experiences, as well as imagery from popular culture and gothic reproduction.‬ ‭World-building methodologies borrowed from science fiction and drag are invoked to‬ ‭represent queer temporalities that have the potential to interrupt and reclaim narratives‬ ‭surrounding horror and the abject in contemporary culture.‬ ‭
Access status: Open Access ,
Sticky feelings, like velcro
(2025-07-23) Abballe, Alessandra; Campbell, Jessica
This paper is written to accompany my MFA thesis exhibition, An object thick with presence (the presence of an absence), which took place April 14 - 17, 2025 at Special Projects Gallery (York University). The work included in this exhibition is informed by my sticky experiences with family photographs—experiences that situate me as what writer and scholar Sara Ahmed calls an “affect-alien,” a feminist killjoy, and unhappy queer. The exhibition consists of reworked images gleaned from my family albums, ceramic objects, and various photo-installation strategies in an effort to work on, with, and against the structure of the family album in order to imbue it with new meaning. The aim of this paper, “Sticky feelings, like velcro,” is to make sense of and contextualize my inclinations in making through an explanation of and grounding in queer and intersectional feminist theory and practices, alongside personal auto theoretical anecdotes. How do images from my personal archives—ones that I hold so much affection for, but do not feel myself reflected in—register? How can I work in tandem with these images to claim space and agency? My thesis exhibition and this accompanying support paper use these questions as a springboard to look up and back, as well as forward and onward.
Access status: Open Access ,
How the Light Gets in: The Atom and the Organism, Artistic Reflections on the Complementarity of Being
(2025-07-23) Keen, Andria Dianne; Pechawis, Archer
EXHIBITION ABSTRACT Humanity has long sought to understand itself by looking outward at the universe, inward at existence’s building blocks, and beyond comprehension toward consciousness. Existentialist philosophy deeply resonates with me, as it emphasizes finding meaning within individual experiences in an indifferent world. This perspective offers solace, placing the responsibility to create meaning on me. How the Light Gets In invites introspection on our embodied existence and connections to the world. Through interactive, immersive installations that challenge typical rules and expectations of the white cube gallery, the work encourages investigation, reflection, and play while pausing to consider broader dimensions of being. By navigating scale—from the vastness of space to the minuteness of particles—the pieces provoke shifts in perception, eliciting responses ranging from awe to intimacy. This body of work aims to inspire a deeper understanding of our relational existence, fostering a space for meaning-making in the everyday.
Access status: Open Access ,
Garden of Hope
(2025-07-23) Kanic, Vladimir; Largo, Marissa
Garden of Hope is a network of entangled beings, materials and processes, all engaged in interspecies collaborations that create intertwined frameworks for ecological repair through multidimensional research-creation praxis. This thesis explores breathing as both a conceptual and material method for artmaking, rooted in my lived war experiences and informed by ecofeminism, posthumanism and material sciences, intending to cultivate and disseminate radical hope to spectators and communities. My collaboration with living algae creates biomedia artworks and transdisciplinary textiles that actively capture carbon and propose new ecologies of care while offering speculative blueprints for the future. The thesis exhibition operates across media and reframes the exhibition site as a living ecosystem where human and non-human agencies co-create through the exchange of breath. Drawing on ancestral Croatian textile traditions and oral histories, Garden of Hope questions planetary survival, intergenerational memory, and the role of art in creating socioecological resilience amidst our fragmented zeitgeist.
Access status: Open Access ,
A Truck Goes Through The Tulip Field: Art As A Medium For Women's Freedom And Resilience
(2025-07-23) Shahverdi-Azarbaijani, Paria; Vickerd, Brandon J.
A Truck Goes Through the Tulip Field: Exploring Women’s Freedom and Liberation through Immersive Painting-Installation explores the intersection of women’s freedom, resilience, and resistance through an immersive, mixed-media installation. Drawing from personal experiences of violence and displacement, the work employs abstract and figurative representation to challenge societal norms and amplify the voices of marginalized women. The installation features a dynamic painting arrangement that engages physically and symbolically with the gallery space. Three paintings will hang loosely on the walls, creating a sense of fluidity and movement, while three others will drape like a curtain from the corners of the room, evoking a tension between confinement and release. In the centre of the gallery, four paintings will be suspended from the ceiling and anchored to the floor in a rhombus shape, a representation of the delicate balance between oppression and freedom. With its equal sides and tilted form, the rhombus suggests both tension and stability, reflecting the precarious conditions many women face in their pursuit of autonomy. Each painting employs a multi-point perspective, offering a visual and symbolic lens into the layered, fragmented experiences of diasporic women. This approach resists singular narratives, emphasizing complexity and inviting multiple interpretations.
Access status: Open Access ,
Exllu(gesis)
(2025-04-10) Ancheta, John Robert; Couroux, Marc G.
Exllu (2024) is a text-and-image-based digital artwork that presents as a literary publication of paranoid fiction. Set within the ubiquitous surround of U-City, Exllu plots a game-like condition that perpetually breaks down and reconstitutes itself through the quotidian effects of its intimate and remote contests, inciting far-flung and jarring ideas concerning what this strangely familiar scenario affords and obscures, promises and threatens. In Exllu's exegetical companion text, "Exllu(gesis)" (2024), I relaunch and perform the artwork's pretence of paranoid fiction while expounding on its underlying theme of gamespace and dissimulative treatment. I evince Exllu as a systems thinking and, equally, an analogical encounter with the ubiquitous, control-oriented technologies of the contemporary milieu, and a generative endeavour of unsettling dominant scopes of world-making.
Access status: Open Access ,
Subtle Matter and Delicate Bodies
(2025-04-10) Norton, Jennifer; Couroux, Marc
Stemming from an artistic mode of enquiry centred on the enmeshment of physical and virtual realms, four works are produced within seemingly paradoxical contexts of non-locality and site-specificity, distance and proximity, biology and data, and information as it pertains to technology and affect. The mediums of these works range from augmented reality, geo-locative technologies, sonic and spatial interactivity, dance choreography, 3D animation, public projection, and multimedia installation. Produced and exhibited in Kingston, Toronto, and Athens, I explore and define intersecting points of affect and materialism and the transmission of information. A new methodology is shaped through these stages of research creation, underscored by emergence, superimposition, offsets, and projection. Drawing upon concepts developed and articulated by Karen Barad, Teresa Brennan, Ursula Franklin, and David Bohm, specifically their understanding of interconnectivity on a material level, Subtle Matter & Delicate Bodies makes a case for a more empathetic, equitable ethos to be implemented in urban development and city planning, and social infrastructures, within the consideration of a more-than-human existence. Underscoring downstream consequences from a historical context, the works aim to tenderly touch upon lack, absence, reverence, and resilience. Through creation, an artistic methodology has formed that interweaves science and technology with poetic and responsive expression. This dissertation will also look upon the preceding research, studio experimentation, and exhibitions that have led to the four works of Subtle Matters & Delicate Bodies, and the approaches I have taken towards rendering invisible phenomena legible, felt, and considered.
Access status: Open Access ,
The Shape of Sound
(2024-11-07) Dunning, Ann Elise Taylor; Balfour, Barbara
My studio work imagines the experiences of non-human animals and finds ways for humans to approximate them or imagine forms of entwinement between species. Sound-sculpture has been at the centre of my practice-based research at York University over the past five years. I have used this medium to consider what an expanded range of human senses might be if we move beyond the five that Western culture typically acknowledges. Sound can bend and bounce, it can penetrate and vibrate through bodies, it can move objects – and yet hearing and touching are often thought of as separate. Imagining the sensory experiences of the non-human world is one way of thinking-with other species. The culmination of my research is The Shape of Sound, an exhibition and written dissertation. It is the in-between spaces – and the potential for shifts in behaviour because of proximity to another – that inspire me to imagine alternate ways of thinking about the world. The richness of liminal spaces has influenced my studio projects and I have consciously approached my written research with these proximal influences in mind. I have used the craft of twining – the hands-on process of twisting and wrapping together two or more strands to make a cord – as a structure for this paper. While the chapters have themes, they are entangled with one another. They shift, transform, and reemerge. Collaborative methodologies are part of my studio practice and have the potential to be transformative relationships. They are dialogues that can shift ways of thinking and generate outcomes beyond what would be created by an individual. To extend this approach to my writing and broaden the discussion of the male-dominated field of sound art, I have conducted conversational interviews with women artists who maintain multi-disciplinary practices that use both sound and object. Excerpts from the interviews are woven throughout the text, adding a polyphonic voice to the dissertation. Ecopoetics is another strand of The Shape of Sound text. Poems are included as a counterpoint to prose. Ecopoetry contends with the human-nature entanglement while acknowledging the current climate crisis; qualities that are reflected in my studio practice.
Access status: Open Access ,
We change everything we touch and everything we touch changes
(2024-07-22) McGeough, Ella Dawn; Singer, Yvonne
We Change Everything We Touch and Everything We Touch Changes draws upon the vast, expressive potential of beds in their many forms, human and otherwise (i.e., coral-beds, death-beds, flower-beds, fossil-beds, river-beds, sedimentary-rock-beds, sleeping-beds, and so on). Qualities of horizontality and support draw this research together, but also a certain nondistinction between surface and depth, exterior and interior, which reminds us that when we are in-the-bed we lie on-the-bed. Applying the logic of assemblage, the formal structure of this work grasps several genres and a broad selection of subject matter via storied descriptions and visual material to form a recursive sense of textuality. Throughout, extimate aesthetics offers a conceptual foundation to register the indivisibility of exterior-objective forces within interior-subjective experience.
Access status: Open Access ,
Grieving (and) Weaving (and) Spreading (and) Becoming
(2024-07-18) Spiljak, Veronica Jacqueline; Vickerd, Brandon
Our interactions with personal ephemera - a home, a recovered letter, an expired bank card, an arranged breakfast table, a church stained glass window, an enclosed corner, your mother’s rosary, a childhood bedroom - give way to the psychological investigations of the self. In this thesis paper, Grieving (and) Weaving (and) Spreading (and) Becoming, I will explore my practice of subverting and incorporating found images, video, Slavic motifs, text and text(iles) in a disembodied search for identity, reconnection and softness. My arts-informed research project uses weaving methodologies, our personal archives among the discourse of grief, trauma, the domestic space, ritual, religion and gendered domestic labour. Through works of embroidery, image-making, performance, installation this paper aims to include a “distraction-as-ceremony” based methodology, similar to weaving methodologies, as a form of reconnection to our roots and our identities. In this paper, I will be using my Polish heritage as reference. In what ways can recreating, assembling, manipulating ephemera, space, language and the archive be used as a tool for a softer, slower, more patient future?
Access status: Open Access ,
Parameters of Spooning: In the Site of Possibility
(2024-07-18) Rattray, Heather Anne; Vickerd, Brandon
Parameters of Spooning: In the Site of Possibility explores the intersections of craft, identity, and self-discovery through the creation of spoons. Stemming from an abundance of curiosity, my research took the form of learning new skills as a way to access the self. The process of learning, both of materiality and of self, centred around the question: what does it mean to queer an object? The work I produced during my MFA explores these skills and applies them to the form of the spoon, continually pushing this form further and further into ‘uselessness.’ These spoons—in ceramic, wood, metal, bronze, and woven natural materials—investigate failure as a queer possibility for transformation and growth. Through the queering of the spoon, I reimagine their purpose and transcend traditional notions of functionality, failure, and a possibility for trans and queer futurity. This paper is written to accompany my MFA thesis exhibition, which will be on display from April 15th to April 19th 2024, in the Special Projects Gallery at York University.

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