My multidisciplinary practice unfolds through individual projects, often incorporating text, and manifests through printmaking, large-scale drawing, video, installation, and performance. My work employs an aesthetic similar to institutional critique, but is shaped by my personal experience and disillusionment with the art world. I’m interested in the undervalued work that exists on the periphery of artistic practices and approach these bureaucratic tasks as work itself, as a means to legitimize art. The administration of a practice becomes the artwork itself.

I take you “backstage” into the life of an emerging artist: making to-do lists, sending emails, writing grant applications, responding to call-for-submissions, and writing cover letters for short-term contracts in galleries or artist-run centers. The works remain sincere in the sense that the materials and outcomes presented are real, without erasing moments of failure, critique, and doubt. This honesty and vulnerability, mixed with humor, makes it easier for the audience to relate to what is being presented.

I address issues that artists face in a capitalist art world dominated by the pressure of productivity, which often leads to burnout. In my work, I expose these realities and the impact of a romanticized and idealized vision of creativity when we stray too far from the fact that it is, in fact, work; we find ourselves on a slippery slope when art is simply seen as something done out of love.

During the summer of 2024, I had the opportunity to participate in a residency at Céline Bureau, a studio space located in a garage in the heart of the Mile-End neighborhood in Montreal. My project for this summer residency was to conduct a series of interviews with artists and cultural workers through a call for participation, to discuss their realities and share the challenges they face. One of my goals was to take the pulse of the artistic community in a very subjective way, to understand the issues that hinder their work. Now back in Québec after living for five years in Halifax, Nova Scotia, where I initially moved to pursue my Master’s, I needed to reconnect with the realities of local artistic communities. About twenty interviews were conducted and recorded in both English and French as part of this project, and now I have a lot of material to edit into a publication, using typography, screen printing, and digital printing techniques. The artist book format is an intimate way to disseminate this information in a more digestible format and share these conversations with the public.