Joyce is sewing.
Joyce is sewing.
Part 1 of 4 – Short Statement

Currently, most work I am making is in print or collage.

The “art world” is temperamental and deals in patriarchy, racism, ageism, and ego, among other things. Creating a spot in this digital arena makes me a part of that art world as much as do the times I have accepted money in exchange for my work, or for exhibiting it in a gallery, or pursuing and paying for a master’s degree. It is what it is and I’m not confident it will be different in my lifetime. Perhaps worse. Perhaps better. I am ever hopeful.

What I am interested in rather than presenting a specific box of selected works is to share as much as I am able to in this public space. I have a love/hate relationship with my computing devices. I have a fear that looking at screens too much will make my eyes square. Hence, the infrequent posting.

I believe that everything I make is related, as much as it is also linked to and influenced by my looking at other art works, researching artists and processes, working in my garden, preparing my meals, and having conversations with other people. It all matters. It is all influential. Especially important to me are the types of questions each work teases out. For that reason I have included early works (or infant works that may never grow to adulthood) that continue to feed ideas I am still interested in, as well as ideas I am exploring.

I think it is also important to mention that even if some works do not appear to be touching on the ideology of white supremacy (aka white privilege), that my work does directly concern white supremacy. As a person who is racially coded as white, the place I speak from is firmly rooted within systemic whiteness. It is an immoral ideology. It should go without saying at this point that other overlapping ideas related to gender, class, place, etc. are also a part of what I make.

It is my contention that making art, no matter what it is, is a political act.

Part 2 – Second (Really) Short Statement

There are many “rules” about how to manage your professional life as an artist. Don’t say this. Do say that. Write this way, don’t write that way. Ugh. I am trying to find creative ways to deal with all of that.

Part 3 – Bio

I am a settler born to Dutch immigrant parents. They came here on a boat. The Groote Beer. I think my mom was sea sick during the voyage. I may not remember correctly what she told me about that.

In 2005, I began studying art with intention (although, I think I knew that I was an artist in grade 2, when the other kids in my class complimented me on the sheep I had drawn on a classroom banner). I completed a master’s degree in 2012. I have been teaching in the capacity of sessional faculty since 2013 for both Emily Carr University of Art & Design and North Island College.

I live and work in a region of Canada that is largely populated by white people in the Unceded K’ómoks Traditional Territory.

Part 4 – Documents

MAA Thesis