The Cotton Factory used to be a mostly abandoned groups of buildings in Hamilton’s industrial sector, a remnant from a bygone era of manufacturing in the city. That all changed five years ago, when Laura and Robert Zeidler purchased the property on 270 Sherman Avenue North, transforming it into the vibrant centre for the arts that the are today. They’ve refurbished the boarded-up windows and empty rooms, turning the buildings into warm and welcoming community spaces filled with both artists studios and a coworking space.
“A lot of the doors on all of the artists’ studios have glass on them, most of the artists keep their doors open when they’re there so that there’s this really nice feeling of community in the building, which is what we’re really working at,” said Laura. “Another thing we work to develop and maintain the feeling of community in the building is places for collision. So little lounge areas, kitchenettes, all that kind of stuff, so that when they’re heating up their tea they start chit-chatting and finding those synergies to work together.”
The coworking spaces in The Cotton Factory allow people to connect with potential collaborators and build relationships with other artists. The buildings that were once empty are now buzzing with activity. The Zeidlers emphasize the importance of creating a space like this for the arts in the city.
“What we’re trying to do is provide space for creative things to happen. It’s not just artist studios with people going into their studios and doing art. What we’re trying to develop is a community, and that’s why we do [events] like ‘Explore the Cotton Factory’ where people can come and see the community, but also the people within the building can go around and see what’s happening in different peoples’ studios. We’re really trying to help support and show the community that’s in Hamilton and around,” said Zeidler.
Their work isn’t just limited to the buildings interior. The Zeidlers are working to promote the arts throughout the city. They have hosted the Hamilton Art Week Launch Party for the past two years running. They’ve had concerts with the Hamilton Philharmonic Orchestra — one of Canada’s leading professional orchestras. They also hosted the Quilt of Belonging exhibit with Tourism Hamilton — a collaborative art project combining art from Canadians across the county. The Cotton Factory was even a venue for the Hamilton Fringe Festival this past year. Amongst other projects, they are collaborating with the Hamilton Arts Council on an Artist-in-Residence program.
“They’re assisting us with our Artist-in-Residence program . . . there’s a studio that we provide and Hamilton Arts Council helps choose the artists. There are two artists and they’re there for three months on a rotating basis and then once a year we have an artist from Europe come to stay — we actually have an Artist-in-Residence from Estonia right now,” said Zeidler.
Through this program, The Cotton Factory provides resources for artists that may not otherwise have access to them, giving the creators the opportunity to focus on creating.
The Cotton Factory has created more than just a studio space. They have grown a community for creators and makers to call home. The Cotton Factory is a shining example of artistic expression in the city. They regularly host events for the community, and they provide a space for artists to express themselves freely. They will also be hosting the upcoming Work In Progress Art Exhibit, which is covered in more detail on the next page. If you have any interest in the arts, The Cotton Factory likely has something for you.
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Three artists raise questions on memory, perspective and family
By Nisha Gill, Contributor
With the beautiful and bittersweet arrival of autumn comes apple picking adventures, corn maze capers and pumpkin carving contests In preparation for the new year, the next few months are also a time for reflection and remembrance. Featuring the work of artists Alex Murphy, Derek Jenkins and Tyler Matheson, “Minding the Archive” (155 James St. North) captures and encourages these themes of reflection and remembrance.
Through a diverse collection of art forms, including analogue film, photos created through cyanotype processes, layered drawings and installation pieces, “Minding the Archive” offers a more personal touch to the traditional idea of an archive, which is often strictly a historical record-keeping system.
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“Archive seems to be a hot topic right now, but this is a sort of personal take on the archive, an accumulation that’s not really organized but I think that everyone can relate to . . . we all have an intimate, personal take on archive. It’s not something bigger or really, a huge organized collection, an archive of things. It’s really personal,” Matheson explained.
When viewers first enter the exhibition, they are able to view it as a whole, as the works of all three artists interact with each other. Viewers can then move deeper into the exhibition and examine each of the artists’ works more closely. Here, visitors can consider focused questions related to how each artist approached the core themes.
The works themselves draw heavily on the artists’ own lives. Murphy’s art is created through drawing repetitive lines and then erasing them to reveal the full picture. His methodical process and its final product are meant to highlight ideas of loss and presence by raising questions about who is represented in our archives and who is not. These drawings promote seeing things from different perspectives.
“Reconsideration is an important word for me - so just kind of reconsider their space, their perspective and how they look at art, but also how they look at people . . . There’s a lot of people that are represented in the show . . . It’s about showing the importance of people who are everyday people like you or me or families or — I guess just looking at people a little bit differently or revaluing people," said Murphy.
Jenkins’ pieces represent everyday people and brings their experiences to life. Centred around an abandoned wallet, his multimedia piece incorporates photography and film to highlight the importance of the past and its influence on the present and future. The use of film, in particular, gives life to the stories represented in his piece, while also raising questions about memory.
“I’ve been carrying around this wallet, abandoned intact at some point by my grandfather, for over a decade. It’s a confusing object, packed with materials from the late fifties and early sixties. I didn’t know my grandfather well, so I don’t have much to say about him, but these objects carried a charge of memory that I wanted to explore,” said Jenkins.
The artist’s work is reflective of how memories are formed and the way they weave into our perception of the world around us. This perception can be eroded by our memories, even though they can document experiences of not only our life, but those around us.
Matheson has taken a collection of family photographs and transformed them using the same cyanotype processes once used to create photographs for encyclopedias. These photos have become a form of self-portraiture, investigating his own identity and history, but also raising more general questions about family and heteronormativity. The combination of photography and printmaking showcases the multiple ways in which an image can be looked at.
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After taking a contemporary photography course, Matheson began to think about family and the various structures that it can take.
“I really started to think about queer kinship as an alternative to [the] normative family idea. And then I started to think about my own experience, growing up in Northern Ontario, and sort of, dealing with memory, place, geography and my relationships politically and my identity in relationship to growing up in that place and my relationship with my family as well. I started to think about what my family meant to me, considering queer kinship and how queer people create their own family,” said Matheson.
"I started to think about what my family meant to me, considering queer kinship and how queer people create their own family,” said Matheson.
Accompanying these works is a unique installation piece, consisting of an essay written on a large piece of cloth. The essay writing has been inverted so that it can only be read through the accompanying mirror. This piece complements the work of all the artists, furthering the themes of reflection and remembrance as well as the questions of memory, perspective, family and heteronormativity. This installation piece also speaks explicitly to the idea of otherness, that is covertly present in the rest of the gallery, and the struggle that accompanies it.
“Minding the Archive” will be on display at Hamilton Artists Inc. until Friday, Nov. 2.
Not only does the exhibition explore the overarching themes of reflection and remembrance, but it also raises important questions on memory, perspective, family, heteronormativity and otherness.
When partners and food and beverage producers Ryan Chelak and Jules Lieff went looking for a production space, they came across a building at 98 Vine Street. While the space was larger than they required for their businesses, they decided to take it. Now they are sharing the extra space with Hamilton makers with their first Vine Street Makers’ Market set to take place on March 30.
The two-storey red-brick building was once the home of Hamilton Pure Dairy, which opened in 1907 to provide healthy, safe and pure milk to the community. It has been home to other businesses over the year and now houses Vibe Kombucha and FitOrganiX.
Chelak is the founder of Vibe Kombucha, a craft brewer of raw, organic kombucha tea. Lieff founded FitOrganiX, a daily meal delivery system that uses local, organic ingredients. They will be using the second floor of the building for production.
The main floor will be open to the community as studio and event space. While Chelak and Lieff are still determining exactly how they will use the space, they know they want it to cater to creatives in Hamilton.
“In talking to a number of artists in the community, in Hamilton, there seems to be a need, particularly where we are downtown, for creative space. All of the workshop, event spaces, they're all pricing a lot of these people out of the market,” Chelak explained.
The desire for space can be seen in how the market sold out of vendor space within a day and a half. By providing space at an accessible price point, Vine Street Market is allowing emerging makers the chance to bring their product to the public.
The markets are currently slated to be monthly, but Chelak said that they may change depending on the demand. Starting in May, they will also host a bimonthly thrifted, vintage market.
https://www.instagram.com/p/Bu42tl9h5S4/
However, the main floor will be more than just market space. At the back of the main floor, there will be collaborative work space for artists to work out of. This would also allow artists to have wall space in order to display their work for clients.
Vibe Kombucha and FitOrganiX will also be selling their products at 98 Vine Street. Chelak and Lieff hope to have a cafe counter where people can buy their products, along with food and beverages from other local producers.
Another important use for the space will be the workshops that makers can host. Having gotten into kombucha by giving workshops, Chelak appreciates the opportunity to share skills with others.
“You know sharing that knowledge is really what community is all about, whether it's making something to eat or drink or making… music or arts. People need outlets like that, maybe now more than ever when everything is fast-paced and we're so immersed in technology and our work… [T]hat time to create it is important,” Chelak said.
https://www.instagram.com/p/BvB-lIDgl-h/
The market will provide an opportunity for Hamiltonians to interact with and buy from local makers. While there is no restriction on where the makers hail from, the market will primarily host local creatives.
Chelak believes that the local creatives are leaders in Hamilton’s resurgence. However, more than helping to grow the city, Hamilton artists are also providing a welcoming and collaborative space for emerging artists to develop.
“Hamilton seems to be, from my perspective…, a city that is collaboration over competition… And I think when you have that mindset where you're looking to promote each other and/or share information or opportunities… then people are more apt to do the same back in return and the adage that when you first give and then you'll receive, it's really what it's all about,” Chelak said.
By creating an environment where artists can work together, Vine Street Market is joining the tradition of collaboration within Hamilton’s artistic community. Having this new space for makers to make and sell their art will allow more individuals with small businesses to flourish in this rapidly changing city. In turn, Vine Street Market will grow as well.
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By: Drew Simpson
The Division of Labour exhibit portrays sustainable ways of creating art while also looking at the difficulties of creating a sustainable art career. Housed in the Workers Arts and Heritage Centre’s main gallery space until April 20 and accompanied by a panel discussion, Division of Labour warns of the scarcity of resources, labour rights and living wages of artists.
Division of Labour also serves as an educational tool to communicate and start discourse around the issues regarding sustainability. The Socio-Economic Status of Artists in the greater Toronto and Hamilton area discussion, which was facilitated by Divisions of Labour curator, Suzanne Carte, and included panelists Sally Lee, Michael Maranda and Angela Orasch, encouraged artists to be vocal and seek action.
“People want to be around artists, but they really don’t. If they were living in the reality that a lot of artists are living in, it would not be favourable. What they want is the pseudo creative lifestyle. They want to be around beautiful things and smart people, but they don’t really want to be assisting with making sure artists are making a living wage and that artists are being supported financially,” explained Carte.
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For emerging artists, this exhibits presents a valuable learning experience as it informs them of community issues. This topic is particularly important since emerging artists are often asked to work for free, often under a pretense that the work will add to their portfolios or lead to exposure. However, Carte argues that asking artists to work for free devalues the work they do.
“Because you are emerging, and because you’re new to the practice does not mean that any institution, organization or individual business, whatever it might be, can take advantage of you and use it as exposure… it’s not about gaining experience — I can gain experience on the job. I can gain experience while being compensated for what I do,” explained Carte.
While Carte encourages individuals to stand up for themselves, she understands that many artists may not be in a position to be able to reject sparse opportunities. She, alongside the panelists at the discussions, further discussed ways emerging and established artists can fight for their rights.
Lee gave an overview of organizations and advocacy groups that focus on bettering labour and housing situations and are making communities aware of gentrification and the living experiences of artists in Hamilton and Toronto.
Maranda added that lobbying for bigger grants or funding is not enough. The community also needs to be advocating for the improvement of artists’ economic status through establishing a basic or minimum hourly wage, affordable rent and transportation.
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Recently, Maranda was a quantitative researcher for the Waging Culture survey. The survey investigated home ownership in Hamilton compared to Toronto. Maranda concluded that Hamilton artists are less reliant on the private market and contribute more to the public art community.
The survey also suggested an artist migration from Toronto to Hamilton due to Hamilton’s lower rent and higher artist home ownership. This leads to a domino effect as real estate agents and developers follow the migration and aid gentrification.
Orasch stated that real estate agents and developers have secretly attended similar panel discussions. The panelists speculated they do so to learn how to market housing to artists. However, the overall sentiment was that they crossed into an artist-designated space to further exploit artists.
“Developers are taking advantage of the language that we have been able to construct for ourselves, to be able to be attractive to other artists or other individuals who feel as though they want an “artsy” experience out of life,” explained Carte.
Lee emphasized how all these surveys and discussions need to reach key decision makers. The Division of Labour exhibit and the panelists at the discussion have repeatedly stressed that talk is merely educational, the true goal is action and change.
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With International Women’s Day just behind us, several Hamilton organizations are taking the time to show their appreciation for the women in our community. One such organization is Never Gonna Stop, a youth initiative that is hosting Empower Me: A Women’s Appreciation Brunch on March 16 at the Hamilton Plaza Hotel and Conference Center.
In addition to brunch, the event will feature games, raffle prizes, a variety of visual and performing artists and speakers. The event is open to all ages and genders. It was important for the organizers that this communal appreciation of women be done by not just other women.
“[I]t's really important to have men to support women in our community. Men's voices are heard a lot more than just women’s [so] we're trying to get men to align with women… [W]hen we hear [about] domestic violence, usually it's men doing violence towards women, so… that's what I mean when I say we try to align men with women to support each other,” explained NGS member Gonca Aydin.
The brunch, which is now sold out, is free of cost. Making it free allowed the event to be accessible to everyone in the community. Reducing financial barriers is important for this organization, which is catered towards helping low-income youth.
https://www.instagram.com/p/Bukit0TBboP/
NGS was created by David Lingisi, Saifon Diallo and Joshua Kiena, all of whom come from low-income backgrounds. They wanted to create an initiative that would provide physical and mental health-related activities for youth from the ages of 13 to 29.
“[W]e've seen how there's a lot of older people… that have talent basically wasted because they didn't have an opportunity… [A]s the younger generation, we basically want to help [youth] out to make their dreams come true. I want everyone to provide a platform for them, to give them an opportunity to… go to the league, allow them to become doctors and [whatever] they want to do,” said Lingisi.
Lingisi was born with sickle cell anemia and has spent his life in and out of the hospital while still working towards his dream of being a music producer. Each of the co-founders have underwent personal challenges, which fuel their desire to help others overcome obstacles. Growing up in immigrant families, they all faced culture shock in addition to financial barriers.
The initiative hopes to provide the support for low-income youth that they feel is missing in Hamilton. They want to support the artistic, athletic and academic talent of today’s youth by providing them with opportunities and the knowledge to succeed.
Since the creation of the initiative last summer, NGS has hosted a youth panel, a holiday food drive, an All-Star weekend basketball tournament and a talent and fashion show for Black History Month among other events. They are continuously planning new events in partnership with other organizations in the city.
https://www.instagram.com/p/Bujp1oFhB_a/
They took on the Women’s Appreciation Brunch because it fits within their goal of creating community. NGS is proud to call themselves inclusive to all genders, races, religions or economic statuses. Setting aside space and time to celebrate women and promote the resources that women can access within the city fits within that mandate.
Most importantly, the Women’s Appreciation Brunch delivers the message of persistence directly to Hamilton’s women. They named the event Empower Me because they want women of all ages to know that they can accomplish any goal that they set out to reach.
“[K]eep following your dreams, whatever it is, don't ever stop, don't let anything stop you. You are able to make it no matter what you're going through, it doesn't matter the situation, just keep going as long as you get one more day… I just want to [say] that everybody's a part of NGS. I'm NGS, you're NGS, anybody going through anything but still fighting is NGS,” said Lingisi.
That is why they named themselves Never Gonna Stop. More than a name, it is a movement and source of encouragement for those involved. Knowing how hard life can be, NGS is focused on motivating others to work hard in order to achieve their wildest dreams.
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I fell in love with hip hop around 2013 when I listened to my first rap album, Drake’s Nothing Was the Same. To me, hip hop is an art of storytelling, rooted in struggle and triumph. It has its haters and it is not perfect, but it has also saved and changed countless lives.
In the tradition of the 1970s New York City DJs and MCs that founded the genre, the guardians of modern hip hop are innovative, creative and heartfelt. Anyone can pick up the mic and tell their stories. As fans, we just need to turn up the volume on game-changing artists.
Buddah Abusah is a Hamilton-born and raised creator spreading a message of peace and love. He began writing at the age of 11 and rapping seriously at the age of 16. Haviah Mighty is a Toronto-born, Brampton-raised musician who is also a member of the rap group The Sorority. She began rapping at the age of 12, combining her seven years of singing lessons with her newfound interest in hip hop.
I spoke separately to these two local rappers about their thoughts on hip hop. Both artists spoke about the importance of the genre not only because of the music, but because of the culture.
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Buddah Abusah: My inner city message is letting all artists know that no matter where you're from, [as] long as you put your mind to it, you can be successful in your way. [I want to] show people [that if you] put your mind to it and indulge yourself properly, you can get yourself to that gold, platinum status [that] Canadians are doing more often now. Also… the message I want to give out is that all my music is to peace, love and equality. No matter what goes down, just treat it with peace and love because at the end of the day that's what everybody needs.
Haviah Mighty: I definitely like to pull from the rawest, truest points of my life to try to create the most effective message possible, which is usually the things that are most important to me. The narrative will always change based on the shifting of the energies around us and things that are happening. But I would definitely say… just being a Black female, I am political in nature. The hair that I have, the skin tone that I have, the gender that I am and what I chose to do for a career are to some people very oxymoronic. I think naturally just my look and my delivery and my vibe is a little bit of an empowering, stepping out of your element, believing in your true self kind of message before even opening my mouth. I don't think that's something I can really escape or run from and I'm actually very happy to naturally represents that. I feel that people around me resonate with that.
https://www.instagram.com/p/Bt8_KYXAXM5/
BA: Best part is the growth. For me I love seeing individuals or an individual put their mind to something and watch it come into fruition. Right now I'm doing that with a couple people/groups. I've worked with some of them in the past and just watching them help the culture of [Hamilton] is the best part because I know this city will get there. Like everybody knows the city is growing. And it'll be interesting seeing Hamilton have their own culture and their own sound like how Toronto has their own sound. Hamilton is far enough where we see Toronto and we want to be like the [greater Toronto area] and be included like the GTA, but we still want our own.
https://www.instagram.com/p/BorVUiiHLRt/
HM: The best part of the hip hop community is the community. I think hip hop is very cultural and the community is very culture-based… [W]ithin hip hop in my experience, you can go to different venues and it's like these are people that you've grown up with because at the cultural level, you guys are so connected. It might be the same for punk music and rock and stuff [but] I'm not as embedded in those communities to know. I think for me it's the beautiful marriage between the sonic vibe of hip hop and then just like the community of hip hop and how different yet similar those two things are.
BA: I'm going to be releasing new material spring, summer time. I've just been working with other artists, doing some production, audio engineering. And other than that, I'm just taking my sweet, sweet time. I'm not trying to [give] you the exact same trap sound that you're always hearing on the radio or that your friends play. I'm here giving you something completely different. I'm giving you good vibes, I'm giving you vibes for strictly hippies… My goal with this is creating an entirety of a sound for the city.
HM: I have an album coming out. I'm hoping that this can really open up some interesting conversations. I'm really hoping that we can see some shifts in female hip hop and what we expect from being a female in hip hop and what we expect from I guess just the gender expectations. I would love to see some of those surpassed with some of the stuff I'm coming out with. But definitely just trying to contribute positively to the hip hop community and that hip hop culture and to tell good, impactful stories that can make some good change.
https://www.instagram.com/p/Bp-dJixASg6/
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Kyle West
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This photography series was inspired by comparing classic symbolism of unity and strength with consideration to the themes of Sex and the Steel City. Across the world and throughout many diverse culture, the symbol of holding hands can be seen to communicate intimacy or a close relationship.
Taking this symbol and empowering it through strong vertical compositional choices lend the viewer to perceive these couples and their love as prevailing. The stylistic choices are a nod towards the strength and monumentality of the landscape work of Ansel Adams and the influential portraiture of Platon. Ultimately, Come Together is a story of love, unity and partnership and my best ability to document this.
Kyle West is a Hamilton-based photographer. He is in his final year of art history at McMaster University and is currently the Photo Editor for the Silhouette. West has developed a particular interest in portraiture over the years, often times turning to digital and film photography to capture his subjects in a beautiful light. From perfectly timed scenes of bustling city streets on film to carefully composed landscapes and journalistic endeavours, West also utilizes his photography as a means for storytelling.
Erin Nantais
This digital drawing entitled “Shower Scene” explores ideas and themes of intimacy that are typically uncomfortable for individuals to openly discuss.
Sex and sexuality are often unnecessarily forbidden topics that need to be reimagined as natural and normal.
Through this piece, sexuality is explored and depicted as natural, normal and familiar.
Simple lines and colours along with a minimalistic look are used to enhance the idea of intimacy as a normal and acceptable human experience.
Erin Nantais is a fourth year multimedia student at McMaster University. She typically works with photography and graphic design. Her personal style of work emphasizes strong lines and simple colour schemes to create a distinctive digital feel. Creative portraiture and animal photography are main sources of inspiration for most of Nantais’ work. Nantais has always been interested in art and photography and through her work she’s found a digital style that incorporates elements of both.
Jet
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Jet’s artistic process relies heavily on research into my chosen focus. It starts with the inquiry: “I want to understand more about…” as they then experiment with different mediums until they find the right material and presentation of their idea. Visualization is the key to their process where they push the boundaries of my idea and test as many possibilities as they can. When the piece is ready for an audience, Jet prefers the audience takes part in the outcome of the work itself.
Jet works mainly with performance, video, sculpture, photography and painting. They try not to ever limit myself to one medium. Jet encounters ideas that seem to float in the air and works with them, listens to them, becomes them and finds the best method to allow the work to exist in harmony with the audience.
Jet’s practice often explores the human body in all of its physical and ethereal elements. Throughout their life they have always made space for themselves to imagine and work out complex issues. This gives them the head space to create and transform what is not yet physical into a tangible piece.
Jet is a multidisciplinary artist who emigrated from Mexico in 2009. They grew up feeling that they didn’t always belong. Social norms, family, friends, peers, the state, and especially an oppressive culture of dominance, sought to limit the creativity of their soul. Now their work reflects a rebirth of expression, and the power of the artist’s will to transform the unseen beauty that surrounds them.
Cait Gautron
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In her first piece, Eviscerate (3016), in using fruit to mirror anatomy Cait Gautron was seeking to question ideas of ripeness and primacy in media surrounding sex. Shadowing the piece are ideas of destruction and decay. With these characteristics she playfully seeks to evoke viscera while using approximate substitutes to create a surreal and dreamlike atmosphere.
Coercion (2018), oil on canvas. With this work, Gautron seeks to raise issues around social and institutional factors which motivate consent and the fear felt by participants who may unknowingly fall in to the role of perpetrator or victim.
In oil paints Gautron seeks to explore the delicate balance between desire and disgust, growth and decay, inherit in human anatomy. Raised by an artist mother, the majority of her early artistic education came from exploring the galleries and museums of Europe in her early teens. In that time she became enamoured with the lustre of Vermeer’s still lifes and the contortion of Schielle’s portraits. Currently enrolled in her second year of McMaster University’s studio arts program, Gautron has just began to show her work around Hamilton and Ontario.
Kayla Da Silva
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or nothing at all.
It’s 11:07 am.
You check your phone.
For a moment
you can’t breathe
and then breathing
happens all at once.
Too fast. Too frequent.
Depression lingers
in the depths of your mind
and anxiety holds
you by the throat.
_
It’s 9:27 pm.
You ask them to choose you,
but they show you
they never will.
Over and over again.
You knew all along
this was going
to happen.
The red flags
waved furiously
but they were in
your blind spot.
_
Now.
You are accompanied
by your old friend,
insomnia.
You are enveloped
with exhaustion,
and gently embraced
by the solace of truth.
Sometimes
you have to choose if
you want to pick
the dandelion
or the rose
or nothing at all.
The artwork accompanied by the poetry is meant as a reflection of relationships that are emotionally damaging. More times than never, an individual in the relationship may not be aware of how complicated the situations were until leaving them.
The series is meant to highlight the mental turmoil an individual can experience when the pattern of behaviours from a partner negatively impacts their state of mind. When being in a complicated relationship, it can often lead to an internal conflict when they are in-love with their partner.
The difficult question is; how long can one hold on to what appears to be a rose when the thorns cause trauma? A partner should never put you in a position where you need to routinely put your wellbeing at risk.
Kayla Da Silva, also known as Kaylita, is a creative and a designer. She has found her poetry to be a suitable companion to the visuals she creates. She holds a Bachelors of Arts in multimedia and communications from McMaster University and currently resides in Hamilton, Ontario working full-time as a junior graphic designer.
Instagram: @iamkaylita
Matty Flader
CW: Disordered eating
For me, sex and food have always had their limbs awkwardly intermingled (in a no eye contact Grindr hookup sort of way). I know what you’re thinking: “how deep, bananas look like dicks and I’m entirely enthused and kind of turned on.” Yet, the story of this photograph is really one of inner turmoil, anguish and ultimately resistance. The food/fuck correlation, as I call it, has lingered like an unwanted houseguest in my head for quite some time now. It goes something like this: the less sex I’m having the less I feel I’m allowed to eat. In times of plentiful or at least grandiose sexual conquest, I can take a breath… or, a bite I guess. The logic is as desperate as it is simple. If I’m not getting laid, I better stop snacking and start looking like a snack. The food/fuck correlation not only problematically frames sex as some prize for me to win, it also leads me through disorderly cycles of eating. It’s all too easy for the things I did or didn’t eat to change my self-perceived body image.
This self portrait is meant to picture the undying torment food puts me through. Putting a voice to this struggle challenges the hegemonic belief that men, those wonderful, tenacious beasts, could never develop eating disorders. The photo challenges the societally constructed ideal of a man who is too tough to feel pain. Inability to conform to this ideal can strip one of his own masculinity. As men the borders of our gendered and sexual identities are constantly under scrutiny by our peers. For most, it’s far easier to conform by reproducing masculinity however they see possible. As a result, men are taught that being normal means never being vulnerable. Expressions of masculine insecurity like my food/fuck anxiety are constantly pushed to the margins of society. I say fuck that. Through this photo I proudly shout: I am a man, I have feelings, sometimes I feel insecure, but here I am. And hey, I bet you’d still fuck me.
Matty Flader is an emerging artist based in Hamilton, Ontario and Vancouver, British Columbia. He takes an interdisciplinary approach to art projects, with a specialization in portrait photography. Flader’s work concerns a broad range of topics, including gender performance, eating abnormality and responses to current events. He often challenges difficult ideas through a humourous lens in attempt to bring attention to the absurdity of this world.
Instagram: @matt_der
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Every so often, students walking through the McMaster University Student Centre are met with faces of The Beatles, large maps of the world and even prints of Banksy’s most popular works.
The Imaginus poster sale, which has been touring Canadian university and college campuses since 1975, is a staple of the university experience. It is not uncommon to see their posters plastered over the walls of dorms and off-campus housing.
The Imaginus poster sale is happening right now in MUSC!
Make sure to check it out before they leave tomorrow 🙂#McSU pic.twitter.com/FfDqEesAgc
— MSU Campus Events (@msucampusevents) January 31, 2019
At first glance, the poster sales seem innocent enough. For under $10, you can get away with two good-sized posters of your favourite band or quote — what could be wrong with that?
A lot, actually. The Imaginus poster sale has been critiqued in the past for selling posters that promote cultural appropriation, and poster sales in general have been scrutinized for the ethics of selling reproduced and borderline copyright-infringement artwork. This can especially raise eyebrows as it is rare that the collected profits ever reach the original artists.
But beyond the possible problematic nature of the content of their posters, the Imaginus poster sales take away opportunities from student artists. As it stands, McMaster University students cannot sell their artwork on campus for a profit.
According to the Policy on Student Groups, student groups on campus “may not engage in activities that are essentially commercial in nature.”
This policy is what caused the shutdown of an art sale by McMaster’s Starving Artists Society last year. The club is made up of student artists and creatives that are looking to expand their portfolio and reach a wider audience.
The event that was shut down was meant to be an opportunity for student artists to market their artwork to their peers and even profit off of their hard work. Many of Mac’s student artist community are involved with SAS and were negatively affected by the university’s decision to shut the event down.
Essentially, the university has allowed Imaginus to have an unfair monopoly on selling art on campus. For a university that already arguably disvalues the arts, to dissuade student artists from profiting from their work is a serious matter.
This brings to light a larger issue at hand. Why should any students be disallowed to sell their products on campus — especially when outside companies are given space in our student centre to sell their products?
This situation unfortunately reflects the situation of many non-student local artists within the community. In our corporate world, it is extremely difficult to establish a reliable clientele and profit off of one’s work. Mass commercialized products inherently cost less and as a result, this drives away sales from local artists.
As the university makes a profit from the poster sales, and in general from any vendors on campus, it is unlikely that this issue will be addressed anytime soon.
Until it is, you can support local and student artists through sharing their work, reaching out to them and contributing towards their sales. The SAS also runs art crawls and other events where students can get in contact with student artists!
Everyone has a Friends poster in their house. When you buy local and student, not only are you supporting your peers, but you’re likely acquiring higher quality and truly unique works of art.
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By: Andrew Mrozowski
For many immigrants, integrating into Canadian society poses challenges. Hamilton Artists Inc. on James Street North consistently works with artists of all nationalities but realized that integration could be smoother.
“They were saying ‘We feel like we are not being heard. How do we get our voices out there [into the world]?’,” said Jasmine Mander, coordinator for Hamilton Artists Inc.
The Incoming program was created in order to address these questions and feelings. Designed to connect new refugees and migrants to Hamilton’s art world, Incoming provides artists with a basic understanding of how the art world works, especially on a Canadian scale, as it differs so from other countries.
The Incoming program started off with workshops that teach participants how to write biographies, artists statements and resumes. Hamilton Artist Inc. is also planning on hosting a meet and greet for new refugees and migrant artists as an opportunity to connect with one another and to other working artists.
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The main component of the Incoming program is an exhibition taking place in Hamilton Artists Inc.’s gallery space. All In One Place was curated through an open call that was posted within the community.
“Outreach is difficult because we aren’t just posting in local galleries, we’re posting in places like working centers and providing translations, so it is accessible.” stated Mander.
All In One Place is the culmination of four lifetimes’ worth of experiences represented in four vastly different styles of art. The exhibition features the works of four Hamilton-based artists: Jordi Alfaro who has created large sculptures that are thought provocative within the space; Cesar Correa Cordoba who uses natural materials to create realistic animal sculptures providing a dialogue between man’s relationship with nature; Salwa Issa who paints her investigation of water; and Bassem Alshamali who paints his depiction of the world through space and time.
For Cordoba, his story began in Mexico City. He lived and travelled to different parts of the country as he loved to learn about the diversity that existed within traditional art throughout different regions of Mexico.
“My inspiration is every root and ramification of nature. The traditional handcrafted arts of Mexico, diversity of plants and animals, the rivers, seas, forests, people… everything inspires me,” said Cordoba.
The artist took to using materials he found all around him to create life-like sculptures of owls, hawks and other animals.
“For this particular exhibition, I used nature as my inspiration. The sculptures with dry plants is to me something like a ritual and I feel connected with nature. I get to learn about plants, collect them and try to understand the shape of the universe,” explained Cordoba.
[Best_Wordpress_Gallery id="215" gal_title="All in One Place 2"]
Although Cordoba has only been in Canada for two years, he hopes that his work can share his Mexican heritage with the rest of Hamilton.
“The most important thing to take away from this exhibition is to enjoy it and think about the connection of diversity, in all levels… ,” said Cordoba.
Alshamali’s story began in Syria but he found himself fleeing to Jordan and Lebanon due to war. His final destination was immigrating to Canada. He was nearly done his PhD in Arts and Archeology in Lebanon before having to immigrate to Canada out of necessity in 2016.
The artist’s work has evolved since his arrival here. He feels free to express his thoughts and opinions without fearing any repercussions.
“I came from a place where the war has torn everything and most of the things that happened were for ideological conflicts! Being safe here taught me to be grateful and appreciate the little things as much as big ones. Through my experience, my story, my art I would like to emphasize that ‘love is wise, hatred is foolish’,” said Alshamali.
“Each artwork has a technical and intellectual time for materializing the ideas into a physical form, though I would say it’s hard to put that implementation into a time frame. Especially since I am a sculptor and I see the painting from a different perspective, a sculptural perspective,” explained Alshamali.
Hamilton Artists Inc. hopes that the Incoming program will be a sustainable way for migrants in Canada to be able to seamlessly integrate into the art community, so they do not have to go into cities such as Toronto and be overshadowed by others.
“We always focus so much on differences,” said Mander, “but if we break it all down, at the end of the day we are so much more alike than we are different. It doesn’t matter where we come from, we’re all together in one place.”
All in One Place will be on exhibition until March 9th at Hamilton Artists Inc. located at 155 James Street North.
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By: Saad Ahmed
The Coalition of Black and Racialized Artists is a Hamilton-based collective of artists of colour. COBRA serves as a creative outlet to racialized individuals and provides access to valuable tools and resources within each artist’s field, allowing them to showcase potential and grow their audience.
The group is comprised of around 40 members from diverse racial backgrounds who are engaged in numerous arts communities within the city, such as photographers, musicians, playwrights, visual artists and designers.
COBRA held their inaugural launch event on Feb. 9, showcasing live music, theatrical performances, vendors, art installations and other artistic offerings from a wide variety of creative Hamiltonians.
These artists have all contributed in different ways to today’s artistic scene in Hamilton; they are substantial components in the growth and popularity of Hamilton’s arts and culture, which is now a major selling point in drawing people to the city.
“One of our main goals is to create awareness for our talents. We hear some local entities talk about culture and diversity in the city, but they don’t really practice it,” said George Qua-Enoo, a photographer and active member of COBRA whose travel photography was on display at the event.
The coalition was formed around two years ago when a few artists began to discuss the barriers they faced as a racialized community. They realized the lack of opportunities available as minority artists in Hamilton, and quickly discovered they were facing the same issues regardless of art discipline. This led artists to add
ress the issue at hand and come together to form a collective voice to support one another.
“It has come to our attention that artists of colour are underrepresented, both at the grassroots and administrative levels; we seek to offer our perspective as the Hamilton Arts Community begins making strides towards a more complete understanding of the city’s under-served artistic scene,” COBRA stated.
“Our hope is that by starting this conversation, we can ensure that Hamilton’s rich and vibrant art scenes reflect all of the city’s communities as they continue to flourish and mature.”
COBRA hopes to inspire the current and next generation of black and racialized artists in Hamilton through their various forms of art. They are hopeful that more artists of colour in Hamilton connect with each other and reach out for opportunities to create a more tight-knit, resourceful community. They also hope to ease the discovery of racialized artists and create a platform for them to showcase their creativity on a large scale.
“Although it may appear obvious that non-white artists in the city are easily accessible, we often hear entities say they do not know where and how to find artists of colour in the city,” said Qua-Enoo.
“COBRA exists to create a platform for these entities to help and support artists of colour from any art discipline to navigate through these hurdles. We have the talent, and we have a lot to contribute to the city’s art landscape,”
He encourages any black and racialized artists in Hamilton to join COBRA. They meet once a month and encourage all members to be actively involved in their meetings to improve the landscape of opportunities for artists of colour in Hamilton.
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