I created some bathroom logos to show that boys and girls and non binary kids will not always dress in the clothing or present in ways assigned to their gender. Boys will wear skirts, girls will have short hair – no biggie. But for kids who haven’t learned this yet, this sort of disregard for arbitrary gender norms can be kind of a big, mind blowing deal, and it can result in bullying and making children and youth feel unsafe. These logos were created in a response to that kind of situation, but I am happy to share them with whomever thinks they might help their school or public space be safer and more welcoming.
Thank you so much to Silk Purse Gallery in West Vancouver for hosting my solo show, All Together Now, from September 3rd to the 22nd. I showed watercolour and pen works as well as an art book.
The pieces explored the possible dualities contained within a person, playing with Carl Jung’s idea of the “shadow self” through visual metaphors and imagery. In a way this series was a kind of self exploratory therapy as I sorted through my own self definition, expectations left over from my youth, and definitions by others. My own departure from what I always thought (and was told) I should be, as well as the muddiness of figuring out what kind of person I was and where I fit as I struggled with some heavy feeling mental health issues, propelled me into considering what sorts of possible versions I (and others) might contain if we were not a fixed self.
I ended up with a kind of multi page self portrait that I also believe could mirror the experiences of others. It was nice to finally share this work in an exhibit format and watch people relate to the work, since I was hoping to illustrate states that would touch on the universal. Everyone feels disconnected sometimes, or fearful or trusting, generous or selfish.
I did one day of painting in the gallery, working on a sort of stream of consciousness abstract watercolour. I have been working on these lately as a sort of meditation, trying not to get too hung up on the end result.
Tomorrow I am going to a school as a visiting author and artist, and I will be leading an art activity around The Body Book. The workshop will be with children in kindergarten and grade one and integrating mixed media. The general idea is to have a background of collaged paper bursting out like sunbeams from a centre where a child’s portrait of their body is glued on top. The main idea is that their bodies are great and special, so the teacher and I wanted to incorporate positive messaging with the sunbeams. We decided that we wanted to offer pre written printed out messages to save on time and help out the students who are not confident writers. Of course the kids will have the choice to write their own if they like, but having pre printed messages seemed like a good starting point.
I had some ideas but wanted to make sure I wasn’t missing anything, so searched online, and was suprised to find that there wasn’t much out there specifically for body positive affirmations for kids. So, I made one myself and wanted to share it in case anyone out there can use it as a resource or for inspiration.
Supplies for Craft:
- watercolour or card stock paper (one small sheet for body, one for background)
- white glue with a little water
- containers or plates for glue
- strips of paper for collaging
- brushes for glue
- watercolour paint and brushes
- paper with affirmations written or printed on
- Draw body on small paper in pencil. Outline in sharpie and erase pencil lines.
- Paint body in watercolour paint. Leave to dry (this will be cut out later when dry)
- Background: collage paper strips out from centre by laying down a layer of white glue and water mix with a brush onto paper, lying strip down, then covering in glue. Continue until paper covered. Strips can be hanging over edge of paper, then cut later when dry.
- After everything is dry, cut out body and glue into centre in the same manner as strips of paper. Cut strips to fit background paper.
This year’s VABF was at the spacious and spanking new Emily Carr University campus on Great Northern Way. I had a really nice day tabling at the Discorder table. They were generous enough to give table space to contributors, including fellow contributor and pal, Eva Dominelli. We were even wearing matching mustard!
I got some All Together Now books printed and they looked pretty nice.
This month an illustration of mine is featured in Shameless‘ New Media Issue. an “independent Canadian voice for smart, strong, sassy young women and trans youth,” I wish this magazine was around when I was a teen (instead I got really weird ideas about how my eyebrows should look and developed an obsession with attaining Fetish perfume from YM.)
The article, Online Cooking Videos: Tasty But Faulty, by Chelsea Philipps-Carr explores the upsides and downsides of learning to cook online. In it Chelsea describes the white (as in Caucasian ) hands in Buzzfeed’s Instagram Tasty videos that speed through recipes that are often derived from non Western cultures.
That feeling in the forest, when you sense a rhythm and knowing larger and wiser than your little anxious brain. The ferns, trees, fungi and mosses are running on ancient time and knowing, that breathes so slowly, inhaling our our exhales into the earth. In the forest, I feel like my body can remember that it is not the silly thinking of groups of people trying to sell things and prove things that are in charge. It is thoughts so old and expansive I don’t even know the words. In the forest, my body can remember how to be cared for.
This is my fourth illustration considering the body as an organism in ‘Botanical Bodies.’ Also a moment to consider that all bodies deserve access to nature without judgement, and that our current sizeist culture is a barrier to this. Many folks in large bodies cannot access equipment or sizes they need to take part in nature based activities, and / or are treated negatively when occupying these spaces. All people, in all bodies, should feel welcomed in nature spaces without a lens of healthism or fitness imposed upon them.
This is A Job For Mommy! An A-Z Adventure is coming out this week (and for sale!), and I am sitting with how good it feels to have created artwork for a project whose message I believe in so fully. In Keegan Connor Tracy’s book, “Mommy” has had 26 careers (one for every letter of the alphabet) and shares her experiences with her daughter in rhyming verse.
With a focus on jobs that are not traditionally considered “feminine” occupations, Keegan encourages readers to consider that women and girls can do any work – from the messy and physically demanding to the silly, scientific and adventurous.
Having supported diverse learners in school settings for the past nine years, this really resonates with me. Though we are comfortable with encouraging girls to strive academically, when academics are not a female student’s strength, girls are not encouraged to pursue the trades and manual, necessary community work (like electricians, mechanics, landscapers, etc.) in the same way as boys. Elective shop classes, for example, are often made up of predominantly male students.
In my experience, girls tend to see themselves occupying roles related to the beauty or fashion industry much more readily, or in caring or serving professions where women are currently heavily represented.
This is one of the reasons W is one of my favourite jobs of Mommy. For W, Mommy is a window washer! This is the type of job, like many roles relating to building maintenance and construction, that I think many girls would not envision themselves in. Maybe window washing is not usually considered glamorous, but it’s important, and pays what would generally be considered a living wage.
The ability to choose work that supports us is central to financial autonomy, which is essential to being able to make choices for ourselves, and self-determination is key to equality for girls and women.
There is so much work that is considered “men’s work” by default, not because it needs anything that men specifically have to offer, but because the historic domination by men in every field of paid work has not been eroded in that particular category. I’m thinking of how often it is easy to let the term “work men” slip off the tongue. Because most of the people we see doing everyday work in the community – like construction, automotive repair, electrical or plumbing work and other jobs that occupy the STEM fields (science, technology, engineering, mathematics), are men.
These are all good jobs, and there is no reason women could not, theoretically, be doing them. Indeed, it is projected that there will be a shortage of one million skilled trade workers by 2020, so women are actually needed to step into these roles. But preparing girls for jobs in skilled labour, manufacturing and trades has to be worked into how they view themselves at a young age, so they can even imagine themselves in the world of physically engaging, often messy “men’s work.” Employers are calling for training for girls in STEM as they recognize that it is a cultural and educational shift that needs to occur to correct the gender imbalance.
So, it feels good to contribute to something that can help shift how girls might project themselves in the future of work. Keegan chose a mix of kinds (and importantly, class) of occupations – blue collar, entrepreneurial, community service, sports, entertainment – and on the page all the jobs are elevated to something that is fun, exciting and meaningful.
I feel super lucky that I got asked to do work that I find meaningful in creating the illustrations and design for this book. I never take it for granted that it’s because I was told, as a daughter at home, and student at school, that I could.
I’m so excited to be celebrating the release of Keegan Connor Tracy’s alphabet book, This is a Job For Mommy! An A-Z Adventure. It will take place at Chapters, Metrotown Saturday Sept. 22 from 1-3.
This was such a fun book to create artwork for, especially since I LOVE the message so much. “Mommy” has had a different job for every letter of the alphabet and shares her many work adventures with her daughter in rhyme. Readers will see that mommies, and daughters can do any job in every field.
Keegan and I will both be in attendance with a reading and signing. Hope to see you there!
During the Winter and Spring of 2017/2018 I was fortunate to work with the students of John Oliver’s junior and senior Lifeskills classes, as well as peers from the general school community and other Learning Assistance programs, to facilitate a project entitled “The Art of Belonging.”
This ongoing project, which consisted of weekly art making sessions over nine weeks, had several key themes, developed in collaboration with Eddie Cruz, the Junior Lifeskills teacher.
Foremost, we recognized that for these students in Lifeskills classes, all of whom have intellectual disabilities (and sometimes additional physical disablities), the highschool experience presented social limitations, as well as a limited access to a fine arts curriculum. With ‘The Art of Belonging,’ we wanted to enable a creative experience and atmosphere in which students with disabilities could access relationship with students from the wider school community. It was also important that this relationship building did not centre around the relationship of “helper” and “helped” that so often inform the dynamic between students with disabilities and their and non-disabled peers. For this project, every student would occupy the role of “creator,” and a more natural peer relationship would have the opportunity to unfold.
Indeed, the role of ‘creator,’ or artist – a holder of agency and maker of choice – was a valuable one to focus on for all students involved. Many of these students communicate in non-traditional or non-verbal ways, and their expression and actions are often mediated by the pragmatics of schedules, staff or other adults, and access to visual materials or communication tools. For this reason we (the educators) made sure to take a process-based approach – one in which the exploration and experimentation with art materials and form were encouraged over any idealized product, with an emphasis on choice making and freedom to follow interest. Instead of aiming for any particular outcome, we were hoping to find ways that students would engage as much as possible and have the opportunity for free exploration and embodied expression.
While I presented a concept of design to start off many lessons (colour, movement, pattern, etc.) students were free to investigate the concept in the way that they were moved to. It was also important to present non-traditional art making tools that could engage and be accessible to students with different sensory needs and / or fine motor abilities. We used sponges, water balloons, textured material like feathers and beads, as well as collage materials, to name a few options.
A second central theme of the project was to strengthen emotional literacy. This meant that we would focus on building vocabulary around a range of emotional experiences through art. We also heavily incorporated the “zones of regulation,” a staple in educational settings that focus on recognizing, normalizing and building skills to cope with, all emotions. We were drawn to this theme not only because emotional regulation was a focus of the Lifeskills curriculum, and highschool is generally recognized as an intense, often tumultuous emotional period in young peoples’ lives, but because emotions are something that every person experiences. Emotion was a natural meeting place for mainstream and disabled students.
So, for the first five weeks, we focused on the emotional qualities of one ‘zone’ (yellow, green, blue, red) partnered with one design concept. We talked about the emotions of the zones and how we related personally to them in large and small groups. Students were then encouraged to explore their emotions personally through art making, while listening to music curated to accompany the week’s ‘zone.’ The art created was kept in a folder, and after five weeks it was repurposed as collage material to create a self-portrait.
During all of the art making sessions, there was natural staff involvement and support for students whose independence in manipulating the art making tools was limited (due to issues involving fine motor skills, mobility or strength). In order to ensure that students were accessing as much agency as possible, support staff and myself met prior to the start of the project to talk about best practices in enabling choice and creativity for students with these limitations.
When it was time to create self portraits, participants were not only invited to use the painted and drawn materials from their own folders, but also to share some artworks to create a group set of collage materials that everyone could use. What was shared, or ripped up or cut up for collage, and what was kept whole, was left up to the artist. The resulting artworks were individual portraits composed in part of communal “emotional” materials – underlining the reality that we are all made up of different emotional components, but also that these emotional experiences are shared among all members of the class and community.
After the artwork was finished the portraits were photographed, printed in a book, and the entire school was invited to an art show in the cafeteria. It was incredibly well attended by the general student population and family members, thanks in large part to the promotional posters made by the artists leading up to the event, and artists and the larger school community had a chance to interact in a new context. Visiting students studied the artwork carefully, while each artist sat with their artwork. Candy and snacks were provided by hosts to visitors, and the artists engaged with guests according to their comfort level.
After the show the works continued to be displayed in hallway glass cases as an ongoing “gallery,” allowing the celebration and recognition of the project and artists to continue past the art show.
In the “Art of Belonging” printed book artists provided bios and statements about the project. Even when the write-ups were written in the words of support staff, it allowed readers to get to know the personalities of the participants a little bit. I’ll share some of what was written in students’ own words:
” I like art because I get to draw or paint anything I want to. I enjoy drawing more than painting because it’s easier for me to draw. I draw at home and at school. My favourite Art Of Belonging piece was the painting of kids’ faces.” – Charlotte, grade 8
“I like art because it allows me to imagine my own world. I enjoyed the feelings part of Art of Belonging. My favourite Art of Belonging piece was the forest drawing.” – Jocelyn, grade 9
“I like to do art every day. I love to colour super heroes like the Hulk, Spiderman and Batman. My favourite part of Art of Belonging was getting to paint my favourite characters!” – Domnic, grade 11
“My favourite colours are red, yellow, orange and blue. In my free time I enjoy drawing and colouring pictures of my family, friends and favourite movie characters. I play the piano, drums and guitar. My favourite part of Art of Belonging was creating art with the students from Take A Hike program!” – Benjamin, grade 12
“I enjoy doing Art of Belonging because it’s fun. My favourite Art of Belonging job was the painting. I made one with lots of colours. I really like working with Sam.” – Lian, grade 9
One of my favourite parts of this project was seeing students who were generally very shy, quiet, or did not have the ability to communicate verbally, focus deeply on their work in serious concentration. They would end up producing something vibrant, unique and enexpected. I know that feeling so well, of having a vision you want to execute, a reality that you want to lay out on the paper in front of you. I love that we were able to create a space, and give access to the instruction and materials, that enabled students to enter that state of flow. I love that we got to see parts of their imaginations and personalities that we may not have otherwise known.
This project was conceived after I spent a fair amount of time working as a support worker in lifeskills classes. These programs often, by design, limit students’ access to inclusion with their school community. I would hope that the arts could be recognized as one way to bridge this gap between students with disabilities and their peers.
Also, I am a believer that creativity, in one form or another, is essential to well-being for everyone. Everyone should have the chance to be an artist.
On behalf of the participants of “The Art of Belonging,” I would like to thank Opus Art Supplies for a generous donation of supplies, the John Oliver PAC , and acknowledge that this project was funded in large part by the Artists in the Classroom grant disbursed by ArtStarts in Schools and funded by the Province of British Columbia and the BC Arts Council.”
I finished this oil painting dyptic (Sea Foam, 11 x 14 each, on wood panel) a couple of days ago, and though I haven’t photographed it properly yet, I wanted to share.
Part of a series on natural flow systems, this piece illustrates in light turquoise the sea foam that roils on top of churning water. In general I’ve used my own emotional/ psychological and spiritual questions and needs to guide which natural design imagery I choose for each work in this series.
I started this piece when I was thinking about flow and connections between people that allow them to create something together (I had a project in mind that was beyond my scope and abilities alone).
I imagine we’re like the foam tumbling through the deep and unknowable current driven forces of our lives and circumstances. We can eventually find each other through a combination of will and chance for a moment to make contact. I guess through painting this I was expressing a hope for this to happen for me.
That was last summer (I seem to work on these paintings in slow time) and the connections appear to be made. Fingers crossed.