Adrienne Matheuszik is a multidisciplinary artist primarily focused on digitally based mediums. She lives in Toronto, Ontario. She has a Graduate Certificate in Digital technologies in Design Art Practice from Concordia University where she received the Dora and Avi Morrow Fellowship for Excellent Achievement in Visual Arts, and a Bachelor of Fine Arts from University of Ottawa. Matheuszik has shown work in Canada and the United States.

She is particularly interested in video, installation and interactive works, juxtaposing conflicting concepts such as the beautiful and the grotesque, sacred and profane, and traditional art and new media. Taking inspiration from fairy tales, mythology, religious and archetypal imagery, she tries to create meaningful experiences through interactive installations and videos that encourage the viewer to reexamine their assumptions about conceptual ideas and aesthetic qualities. She often tries to create a conversation between the old and the new, attempting new approaches to common ideas and expectations in art and concepts. She is interested in subverting the viewers expectations to create a new experience.

Ashley A. Jones self-identifies as a black feminist artist from Duquesne, Pennsylvania, who works hard to develop conceptual drawings and paintings that speak both to her and to the viewers about the beauty that exists in African American history and culture. Her work currently explores colorism, black women's liberation movement, identity, black folklore and self-acceptance among women in the African American community.

In 2005, Jones completed her Bachelor of Arts in Studio Art from Central State University in Ohio, and is now a Master of Fine Arts candidate at Indiana University of Pennsylvania, where she is experimenting with different mediums to perfect her practice and build a consistent and clear style in her work.

Part of Jones' process before she starts any piece is to research as much as she can about a specific topic and recreate it in a fashion that’s not only aesthetically pleasing but also educational. In performing this process, her goal is not to merely capture the image with a pencil or brush, but to breathe life once more into a topic.

Jones's overall intent is to make incisive and poignant works of art that critique all forms of sexism, discrimination and oppression among black women. With every completed piece, Jones attempts to reveal a long forgotten time in African American history. As with any recreated moments from the past, she is mindful of the challenge of not caricaturing the moment, but instead capturing it in all its glory and flaws.

My name is Carmen Alemán. I am a Spanish visual artist and educator, living in London.

I currently work as a lecturer in photography in the Department of Arts and Digital Industries at the University of East London. I am also in the process of doing a Professional Doctorate in Fine Art.

My Spanish upbringing has deeply influenced and inspired my interest in gender and women’s issues, (in part, as a result of Spain’s recent past, marked by civil war and almost 40 years of military dictatorship before democracy was established in 1977). Even now, in contemporary Spain, the persistence of gender inequality and challenges from a patriarchal hegemony are still prevalent.

As an artist, I believe in art as a tool for social change, highlighting issues of social injustice and how art possesses an immense power to engender that change. I’m interested in global feminisms, because of their inclusive discourses with a wide range of women’s groups and movements, awareness of justice and equality, and encouragement of a multitude of feminist voices across different cultures.

Mintz is the rock-band of Christina Zeidler, Celina Carroll, Carolyn Taylor and Sarena Sarian. The Mintz art practice comes out of a shared experience in D-I-Y, with an ethos that speaks to both our queer and feminist identity. The core ethic of Mintz is to explore musical improvisation within the spirit of permission and play. Or, more specifically, a permission to play.

Mintz resides at the intersection between rock band and sand box. Mintz inhabits the mythology of a rock band and plays with the archetypes of the rock band narrative: The Rise, The Fall, The Come Back etc.; imbuing it with unintended power by prioritizing the ridiculous, that, outside of radical play, are conventionally reserved for superstars or borderline narcissists.

We invite people to ‘play’ with us as co-conspirators in the Mintz mythology, to step into the the Rock Band genre as Manager, Roadie or Rabid Fan. To ‘play’ with Mintz is to reminisce about our greatest albums, to envision a European tour or to break the news of the band’s dwindling iTunes sales. Playing with Mintz can also mean picking up an instrument and jamming along. Mintz ‘holds space’ as a group, for other people, from all walks, to play. We eat the mushroom. We fall down the rabbit hole. Mintz endeavours to create a mythology, aesthetic and politic within which to play, create and produce.

An interdisciplinary artist, organizer, and student, Christina Hajjar explores resistance, feminism, and identity by making, thinking, moving, and sharing. She is a queer femme cis woman and first generation Lebanese-Canadian living in Winnipeg, Manitoba on Treaty 1 Territory. Hajjar’s practice grapples with themes of diaspora, self-discovery, inherited trauma, and memory. As an academic, planner, and maker, her attention to process and mindfulness embraces the slow, tender, radical, and collaborative. She uses art as a point of connection within her communities by participating in artist collectives, facilitating group projects, organizing workshops, creating zines, and amplifying the voices of individuals at the intersections of multiple oppressions.

She has co-founded an open mic night for queer and trans people of colour with QPOC Winnipeg which fosters local talent and occasionally features out-of-town performers. Hajjar uses agency to explore memories written on the body, unsettle dominant narratives, and work towards discovery and healing. She commits herself to grappling with space, place, race, gender, and sexuality – engaging with criticality in a way that asks too many questions, revels in the complexities of people and time, and carries an abundant hope and compassion towards radical reimagining.

Born in Hamilton, Canada in 1992 Jenna Robineau's work is inspired by the female body in space. Jenna’s work has been shown in formal galleries and alternative gallery spaces across the GTA including Oakville, Mississauga, Toronto, and Hamilton. She recently completed an artist residency with the Hamilton Artists’ Inc. and The Cotton Factory in which she developed a ceramic based practice that explores representations of the female body. Also, she is currently developing a new body of work that comments on the female body in the natural environment in the form of an installation in a Canadian national park for the Canada 150 celebration. She is anticipating completing her BA from the University of Toronto and diploma from Sheridan College for technical and advanced learning in June 2017 with a studio focus in sculpture.

Julia Huynh is a young emerging Toronto based interdisciplinary artist. She is a recent graduate from the joint Art and Art History program between the University of Toronto and Sheridan College. Huynh’s work has recently been exhibited at Photophobia (Hamilton), Artspace Peterborough (Peterborough), Trinity Square Video (Toronto), and The Blackwood Gallery (Mississauga).

Huynh has an interest in examining the limitations that occur from working with both memory and materiality. Huynh identifies as a person of colour and considers herself as an intersectional feminist and prefers to use she/her pronouns. However, she finds it difficult to fully label herself and explicitly identify her gender, sexuality, race, and religion as she continues to try and understand her relationships to each. In her recent work, she explores what it means and feels to be Vietnamese, Canadian, and Vietnamese-Canadian, having grown up in Peterborough, Ontario as a visible minority and a child of refugees.

Karla Monterrosa-Morales was born and raised in tropical El Salvador and in sunny southern Spain. A big fan of clear skies and sunshine, she’s been having second thoughts about relocating to dreary Vancouver, BC in 2009. She got her first period when she was ten and hasn’t stopped talking about it (or any body fluids, really) since. Karla is an illustrator, painter, filmmaker, and hypochondriac. Some of her current obsessions include masturbating, the concept of radical love, and WebMD.

Karla graduated from Emily Carr University of Art+Design with a BFA in animation in 2013. She’s worked on very cool projects for children’s television and public art installations since. Through animation, illustration, and witty one-liners, she tries to explore the concepts of shame, honesty, and misfortune in everyday life.

While she self-identifies as a very chill extremist, she navigates North and Latin American politics from the intersection of being an immigrant and a cisgender latina woman. Currently, she’s working with other angry feminists on projects to convince the current Salvadoran government that reproduction rights are human rights. Despite her constant disappointment with the Salvadoran left-wing party, her ideas and values remain very left-leaning, although she advocates for a culture of radical love in which people who disagree politically can see each other as people despite their differences

Kate is a queer crip community activist, artist and workshop presenter who received her undergraduate degree from York University in Sociology and Theatre and is now working on a Masters of Social Justice Education at University of Toronto. She is passionate about building communities of care and striving to create safer, anti-oppressive spaces. Living with both physical and episodic disabilities, Kate navigates complex realities and experiences through art, activism and community care. Kate’s interests include community building, intersectionality, disabilities, queer identities and knowledge sharing.

I’m Milena Pafundi, 33 years old, and I define myself as a Feminist Visual Artivist Bisexual cis-women. I studied a film carrier, but my life and artistic work became self-taught in 2001 when I started experimenting with my home video camera, my analog TV and some visual software, always interested in hybrid technics experimentation. In 2007 my video “Un tiempo” won ALUCINE, a film festival in Toronto, Canada – a 25 minute one-take video of myself recorded with video home-camera.

I also define myself as a VJ and have performed in different Festivals: Punto y Raya, Panoramic, Espacio Fundación Telefónica, Satellite, Mutek, Creamfields, Cocoliche, Onedotzero, Crobar, Fuga Jurassic, technopolis, CC Matienzo, Cultural Center San Martin, Art City Santa Fe, Moving image Biennale, Teatro Colon, etc. In November/December 2015 I took a residence in MACBA, where I exhibited the installation "Región del Plano" and in February 2016 I live visual performed in MACBA intervening an installation of Andrés Denegri, which proposed a live manipulation of super8 film.

Nailah King is a member of the Room editorial collective. She is also a writer, avid reader, and blogger. A UBC alumnae, she is currently working on completing a thus far untitled manuscript in prose fiction.

Ojo Agi (b. 1992) is a self-taught Nigerian-Canadian artist.

Informed by anti-racist feminist theory, she uses her art practice to explore issues of race, gender and cultural identity. She aims to challenge the myopic lens with which women of colour are often portrayed; but also use each piece as an opportunity to learn and un-learn what is beautiful to her.

Whether she’s creating with art markers, oils or watercolours, potent emotions and delicate details permeate her work. Her greatest hope as an artist is to tell stories that people of any background can identify with.

She is currently based in Toronto, Canada.

Samantha Lyn Aasen is an artist adapting to the southwest, as she holds on to her midwestern mentalities.  As a child she had dreams of becoming a writer, as she was an avid read and creator of an active blog at the age of 12.  A car accident left her with a traumatic brain injury when she was fourteen.  This led her to take creative arts classes, which she found helped her communicate her ideas and thoughts in visual representations.

Her suburban upbringing has her questioning female relationships and societal standards.  Samantha identifies herself as a feminist artist.  She uses her art as an exploration of her ambivalence of pop culture and desire to protect young girls from facing negative attitudes about themselves or from others.

Often she uses lens based media to form her artwork.  Her ongoing body, titled Sparkle Baby, is constructed with photographs and video, using herself as the subject of the imagery she creates.  Samantha also works in embroidery, beading, performance, web processes, and found objects.  The idea or intent of the work drives the outcome of material.

Samantha Lyn Aasen has had exhibitions in Indiana, Arizona, Illinois, Nebraska, Maryland, and recently the UK.  She holds a Bachelor’s of Fine Art in Photography from Herron School of Art and Design at Indiana University and a Studio Art MFA with an emphasis in Intermedia from Arizona State University.  Currently she teaches at the Maricopa Community Colleges, and volunteers with Girls Rock! Phoenix.

Sarah Stefana Smith’s photo-based practice is a recursive exploration of blackness, femininity, and history. She creates photographs, collages, and photo-weavings that are informed by her interest in conceptual art, embodiment, and narrative in feminist and black art traditions. Her art-scholarship communicates between the fields of black art and culture, queer and affect, visuality and aesthetics.

Sarah was a recipient of an Art and Change Grant from the Leeway Foundation, an Ontario Arts Council Grant, and the John Pavlis Fellowship as an artist in residence at the Vermont Studio Center. She most recently was the recipient of the Bremen International Student Fellowship at the University of Bremen in 2013. Her photographic work has appeared in Mambu Badu’s a Photography Collective of African Diaspora Women, self-titled issue (2013) and in the twenty-year retrospective Sistagraphy: A Different Eye - Sistagraphy Celebrates 20 Years of Photography (2014), an Atlanta based photography collective of African American women.

Her publications include “Composite Fields (2015) on ‘Nothingness’ and Mu” in Drain Journal and “Appetites: Destabilizing the Notion of Normalcy and Deviance Through the Work of Wangechi Mutu and Octavia Butler” published in Ruptures: Anti-colonial and Anti-Racist Feminist Theorizing.

Seeley Quest lived in the San Francisco Bay Area from 1998 till 2015, and is now exploring away from the west coast. Sie worked there at independent bookstores for twelve years and at art modelling for eleven, often performed in and organized showcases around the Bay Area from '01 till last featuring in the '14 LitCrawl, and has toured to present in Vancouver, Toronto, and many other U.S. cities and colleges. Featured in D.C. at the True Spirit Conference, L.A. at Trans/Giving, NYC at the Stages Transgender Theatre Festival, and New Orleans at Saints and Sinners Literary Festival, Sie has poems published in the book Disability Culture and Community Performance: Find a Strange and Twisted Shape, issue 2 of Them: a Trans Lit Journal, hybrid text in Fall ‘16 Fiction International, and won the '16 "Able in this Diverse Universe Essay Contest" run by Karrie Higgins. Excerpts of performances with a collective disability justice project are in the ’13 documentary Sins Invalid: an unshamed claim to beauty.  

For several years sie curated, promoted, and mc’d the lineup for the Performers’ Stage at the Anarchist Café, the annual opening night event for the San Francisco Anarchist Book Fair, as well as other cabaret series, and in ’12 organized an eleven-week film and discussion series at hir cooperative house, “Cinema of Loss and Transformation.” Seeley is a white trans person with mixed class, gender, and medicalized experiences since childhood.  Hir parents worked in theatre and music and taught college, but it wasn’t till finding feminist mentors that sie began pursuing art making to consciously challenge the misogyny and other systemic biases sie received.  Drawing from experiences of privilege, marginalization, and solidarity, and experiments in different disciplines, sie often seeks to bridge communities and effectively reach a range of people.

Sophie Roessler is an interdisciplinary artist whose current work focuses on western cultural construction of feminine identity. She earned her BFA with a concentration in Printmaking from the Kansas City Art Institute, and currently lives in Portland, Oregon. Sophie identifies as an intersectional feminist who suffers from chronic illness. Her work captures sexuality in teenage girls, during the uncertain fissure between childhood and maturity, and addresses the challenges they face when shifting from girl to woman. Drawing from her personal experience with mental illness, the work focuses on the attempts of teenage girls to fit our pop culture’s representation of their sexuality and how this often results in a suspension of their sense of self. The efforts to fulfill these representations can lead to feelings of guilt and obsession, which can cause internalized suffering that arises from the inability to meet societal expectations. Sophie uses survival tactics girls have created to face this alienating reality, such as transforming their bedrooms into sanctuaries and escaping through drawing in the margins of their diaries.

Sophie was a recipient of the Ox-Bow School of Art fellowship in Saugatuck, Michigan. She has worked with the Nelson-Atkins Museum of Art in the European Prints Curatorial Department, as well as the faux public access television show Whoop Dee Doo.

Suzanne Broughel is a multi-disciplinary artist based in New York. In her work, she explores issues of race, particularly the construct of whiteness and its implications towards being a raced individual. She has exhibited at P.S. 1/MOMA, Marlborough Gallery, Columbia University, The University of Memphis, Rush Arts Gallery, and Longwood Art Gallery, among other spaces. She was a 2008 participant at Skowhegan School of Painting and Sculpture, and in the Emerge 8 Program at Aljira Center for Contemporary Art. Broughel is the recipient of fellowships from the New York Foundation for the Arts and A.I.R. Gallery, and was a resident artist in the 2010 Triangle Artists Workshop. In 2014, she completed The Laundromat Project’s Create Change Fellowship. In 2015 she was a participant in the The New Museum’s R&D Seminar: Persona, as well as The Art & Law Program.

As a member of the tART feminist art collective, she co‐organized (with Christopher Hutchinson) 2016’s A Bad Question, an exhibition and intersectional feminist symposium in Atlanta, Georgia. This collaboration between tART and The Smoke School of Art collective provided a platform for women artists and scholars to share their work and ideas in multiple ways, including a gallery exhibition, an online exhibition, a day-long symposium, and a zine.

Broughel is a long-time member of European Dissent NYC, a white antiracist group that is an affinity group of the New York Antiracist Alliance. Her involvement with white antiracist groups is a direct outgrowth of her thesis research while completing the MFA program at Hunter College CUNY in 2003.

Vanessa Godden is a mixed media artist based in Melbourne, Australia. She received her BFA from the University of Houston (USA), MFA from the Rhode Island School of Design (USA), and is currently a PhD candidate at the Victorian College of the Arts (Australia). Godden’s practice-based PhD research project entitled Embodying Entanglement uses organic and inorganic materials to explore and convey entanglement as it relates to two key experiential foci – the aftermath of rape and multi-ethnicity. Through performative action, materials such as thread, yarn, paper, eggshells, curry powder, flour, paint, chili powder, and hair activate the body while the body animates each material. The project seeks to develop processual methods for materialising internal entangled experiences of rape and race. Material engagements with the body reflect autobiographical narratives that depict entanglement and evaluate experience through process.

Godden’s studio practice draws from and combines a variety of mediums including performance, video installation, and book art. The use of combined media offers a blending of time and space in an effort to record cyclical rituals and alters to the past, an unveiling of hidden layers of the mind. Her artistic narrative is built on an image of herself constructed from memories – records with no visual markers. Persistent and recurring imagery and themes include orality, inversion, the body, trauma, and lineage; each are enmeshed with a deep personal need to find a voice for something inside that desperately wanted to speak but was somehow unable to. Godden strongly aligns her practice with post-colonial feminism and personally identifies as a queer woman of color feminist.