Projects

Hazelton Arts Space

This is a long-term project to establish a northwestern hub for creative and scholarly exchange and professional development in the arts. Located in the historic community of Hazelton in the heart of Gitxsan territory, the building currently houses a multifunctional, fully-accessible community arts space. Future phases will include developing a commercial kitchen, community studios and residency for artists and scholars. Read more.

Global Aluminum

My current research examines the material history of aluminum and environmental injustices and economic inequities built into the supply chain. I focus in particular on Guinea, West Africa, the site of a massive extractive boom.  Despite being home to the world’s largest bauxite deposit and a rapidly expanding bauxite industry, Guinea remains one of the poorest countries in the world. My work examines the environmental trauma inflicted on communities by the extractive sector and the cultural response.

Extraction: Art at the Edge of the Abyss

This multimedia, multi-venue, cross-border art intervention investigates the extractive industry in all its forms, from mining and drilling to the reckless exploitation of water, soil, trees, marine life, and other natural resources. The project will expose and interrogate extraction’s dangerous social and environmental consequences, from the damage done to people, especially indigenous and disenfranchised communities, to ravaged landscapes, poisoned water and climate change. Read more.

Into the Continent

My third book of poetry interrogates early nineteenth-century settler-colonialism in Canada and South Africa. Colonial Europeans shaped the troubled recent histories of these two nations and gave shape to contemporary understandings of land and identity that are often knotty. My poetic project asks several questions of colonial histories: How can we revisit and thoughtfully investigate our memories and narratives of the past? What are the larger stories of dispossession and displacement that ripple through our colonial past? How might the legacy of these iterative cultural traumas be transformed? The book draws on my year of research in South Africa examining the history of apartheid, nine months in Scotland delving into the histories of the Scottish Clearances, and five weeks at the Al Purdy A-Frame in former Upper Canada researching settler histories and narratives.