Anna Jane McIntyre is an artist with a playful practice that combines storytelling, drawing, sculpture, printmaking, performance and micro activism. Her work investigates how people perceive, create and maintain their notions of self through behavior and visual cues, and is an ever-shifting visual mashup of British, Trinidadian and Canadian cultural traditions. Her work has been presented in Canada, the United States, England, Europe, Brazil, South Africa and the Caribbean. She lives and works in Montreal.

SPATIAL-ESK is an artist of Zambian heritage based in Canada. He explores the interplay between urban space, architecture and cultural experience. His work comprises of carefully photographed ‘col lage-models’ which bring imagined and constructed worlds to life. His approach draws from the works of Kurt Schwitters, celebrating juxtaposition between defined architectural objects and cut out figures. The theme of juxtaposition is common to his eclectic cultural experiences of living in South Africa and England. He uses collage as a medium to present disruptive and provoking concepts which often materialise into larger temporary and built works. His work has since been published in Blueprint Magazine – UK , Burrasca Journal, Italy , Parksify, California and has had work exhibited at the ‘Future of Art’ exhibition at Tate Modern, London. He currently works from his studio in Toronto.

Karma Clarke-Davis was born in 1970 in Trinidad and Tobago, and has lived in Jamaica, Saskatchewan, and Montreal. Currently based in Toronto, she draws on her East Indian, African and Scottish heritage to create works which seek to blur boundaries (racial, sexual, cultural, psychological). Trained as a dancer and in drama, art and music, she graduated from Concordia University’s Studio Art program with a degree that included the study of painting, drawing, video, sculpture, installation and interrelated art. It is this past training that she draws on, as well as preoccupation with urban popular culture, to produce multi-layered mixed media works which explore her personal concerns with a dark, questing humour.

Stanley Février is interested in issues of power in the era of globalization. His work addresses intimate questions concerning the relationship to oneself and to others. A graduate of visual and media arts studies, his recent artistic and conceptual concerns are based on institutional criticism, identity and the violence and inequalities engendered by the latter.

Iyunade Ogunmodede is an artist-photographer based in Winnipeg Canada, originally from Ogun, Nigeria. His work focuses on the black experience from an African’s point of view in the diaspora. He has worked on a number of photo projects and short films on black masculinity, gender and afrocentrism. Judah’s work primarily focuses on identity and a need for consciousness in African art.

Kemi Craig is a film and dance artist originally from the Southeastern U.S. She completed her MFA at Emily Carr University of Art and Design and has studied both film and dance locally and internationally. Currently she lives in Lkwungen and WSANEC territories (Victoria) where she continues her practice creating film installations for galleries and artist-run centres, facilitating workshops and performing with independent dance companies.

Valérie d. Walker is a Renaissance Artist, alchemyst, transmedia maker, educator, curator, Indigo Griot, Radio-Wave creatrix & BIPOC Femme Afro-Futuristic transmitter. Valérie holds a degree in EECS from UCBerkeley and her MFA from NSCAD University. Valérie’s artwork explores enviro-positive natural dyeing & printing, fibre-based responsive installations, tactile virtual spaces, solar-powered circuits, story-telling, epigenetic memories, environmentally healing studio processes, craftbased techniques, digitalia & imagining, programming, sensoriality, and Afro-Futurism. Her curatorial work examines Diasporiac revelations, Indigi-Queer Black Other Femme representations & Techno-Enviro Moravecian NightMares. Her installations & dimensional sculptures are exhibited across the world.She is an artist in residence at the Malaspina Downtown Printing Studios and has her own bio-fermented natural indigo dye studio in East Vancouver, BC.

Lucie Chan is a Guyana-born artist who makes multilayered drawing installations that often include animations and working with participants to discover potentially connected cross-cultural narratives between seemingly disparate lives. She has participated in several duo and group exhibitions at the National Gallery of Canada, Carleton Art Gallery, Dalhousie Art Gallery, Eyelevel Gallery, MOCCA, Richmond Art Gallery, TRUCK Gallery, Robert McLaughlin Gallery, Oboro, Kitchener Waterloo Art Gallery, and Center A, among others. Her work has also been featured in solo exhibitions at such venues as the Art Gallery of Nova Scotia, the MAI (Montréal Arts Interculturels), and Mount Saint Vincent University Art Gallery. She also has completed residencies across Canada, Portugal, Spain, France, and Italy. She was long-listed for Canada’s prestigious Sobey Art Award in 2005 and 2010. She currently lives in Vancouver where she is Associate Professor at Emily Carr University of Art and Design.

Chukwudubem Ukaigwe is a Nigerian-born song, dispersed by a transient Atlantic breeze, currently passing through Treaty 1 Territory, so called Canada. He consciously uses a variety of mediums to relay a plurality of ideas at any given time. He views his art practice as a conversation or a portal into one, and, in some instances, as an interpretation of this ongoing exchange. Chukwudubem weighs an occurrence, feeling, or idea on a scale and then creates a narrative in his own language. He operates as an interdisciplinary artist, curator, writer, and cultural worker, and is the founder of Patterns Collective. He is also the current editor of Plug In ICA Editions Online.

Jan Wade is a Vancouver-based artist. Wade’s work deploys the materials and symbols of the everyday to explore issues of post-colonial identity, ethnicity and spirituality. Drawing creative resources from her own cultural history, Wade’s examination of New World black diaspora reflects upon the relations between past and present, self and collectivity, and brings voice to the staunchly political nature of those encounters. Wade’s work focuses on altars as vehicles of worship and memory, as vessels for African spirituality and to reconcile the painful past of the African Diaspora.