NEXT DOOR 2021

Next Door

June 16th to August 16th, 2021

Click here to download a printable version of the Next Door map

Artist Statements + Biographies

Erin Ball and Jane Kirby conducting a pop-up performance on stilts as part of Friends and Flights. Photo by Chris Miner.

#1 – 184 Sydenham Street

Jane Kirby + Erin Ball, Friends and Flights

In collaboration with David Parker + Josh Lyon
Circus arts, video, audio, 2021

Friends and Flights is a reflection on the friendship of circus artists Erin Ball and Jane Kirby. Introduced in 2012, the story of their friendship includes long hours at the studio, road trips and seedy motels, and creating and performing circus acts. It also includes navigating several major life transitions.

We imagine this work as a celebration of friendship for its own sake. Female friendships are often stereotyped and rarely celebrated; with this work, we hope to make these friendships and their transformative potential visible and knowable.

Jane Kirby and Erin Ball will present a COVID-safe pop-up performance at adate TBA. Stay tuned and follow us on social media for updates.

Click here to download a description of the Friends and Flights video

Click here to download a transcript of the Friends and Flights audio

Click here to listen to the Friends and Flights audio

Artist Biographies

Jane Kirby (she/her) is a circus artist, writer, editor, and mother living in Kingston/Katarokwi.   LowLitAerialArts.weebly.com

Erin Ball (she/her) is a Disabled and Mad (from the Mad Pride movement) circus artist and coach based in Kingston/Katarokwi.   KingstonCircusArts.com | @ErinBallCircus | @kingston_circus_arts

David Parker (he/him) plays in musical, interdisciplinary projects that are experimental, drone, and improvised; he collaborates in ensembles and performs solo improvised work.   SlowManTofu.com

Josh Lyon (he/him) is an accomplished filmmaker, animator, musician and multi-arts practitioner, currently living and working in Katarokwi / Kingston.   JoshLyon.ca/akaflk

Clelia Scala, Micro-Macro (detail), 2021. Photo by Chris Miner.

#2 – Central Public School, 237 Sydenham Street

Clelia Scala, Micro-Macro

Mixed media—papier mâché, worbla, acrylic, and other materials, 2021

Micro-Macro explores the complex and busy ecosystem of a tree in an Eastern Ontario forest. My focus is on the less popular and understood categories that make up our natural environment. Instead of dealing with more familiar groups of local organisms, this exhibit focuses on non-flowering plants and animals that are so small that they are often overlooked, as well as organisms that are neither plants nor animals (fungi). In playing with scale, I hope to make the inconspicuous conspicuous.

Artist Biography

Clelia Scala’s work includes mask and puppet design, installations, collage, and illustration. Her explorations into the fantastic and uncanny stem from lifelong engagement with tales and myths and her interest in the theme of human interaction with the natural world. Her masks and puppets have appeared on stages and in galleries across North America. Her latest publication is a series of collage illustrations for Alice Through the Working Class (Dr Cicero Books, New York) by Steve McCaffery. She is the 2019 recipient of the Established Artist Award for the City of St Catharines. Clelia recently moved back to Kingston, her hometown, and teaches theatre, mask, and puppet design at the Dan School of Drama and Music at Queen’s University.   clelia.ca | @clelia_masks

Jane Derby, Ghost Tree, 2021. Photo by Chris Miner.

#3 – 110 Ordnance Street

Jane Derby, Ghost Tree

Acrylic paint on steel siding, 2021

An ancient maple tree which stood here when I moved in 25 years ago is the inspiration for this installation. Before it fell across Ordnance Street during a storm long ago, this majestic tree dominated my tiny front lawn. Now there is very little trace of it left, save for the stump hidden amongst the flowers, and its mate which still stands a few steps up the street on my neighbour’s property. The two trees must have been planted together when the stone duplex was built in 1886. The diptych you see in my two front windows portrays “ghost shadows” from the branches of the fallen tree.

The bulk of my work as an artist has been the creation of a series of sculptural bas-reliefs made from salvaged materials: rusted tin cans, shards of lath, recycled plastics. These three dimensional landscapes lend themselves to a critique of our wasteful environmental practices, a call to look again at what we discard so easily.

Ghost Tree, a work in the artistic tradition of memento mori, is a reminder of our own mortality; it lends physicality to absence, and is a tribute to what we have lost.

Artist Biography

I am part of the growing movement in contemporary art that uses “trash” as material for artmaking. Since graduating from OCAD in 2007, I have been creating sculptural bas-reliefs out of salvage, most often lath taken from older homes where the lath and plaster walls are being replaced by drywall, as well as household cans and scrap metal. The metal is treated with patinas, shredded and distressed, then nailed to plywood supports. The lath is combined with canvas or embedded in plaster, then painted or gouged. I see these works as three-dimensional landscapes, recreating the surface textures of Kingston. Although it is the materials that interest me the most – I spent my youth scrounging in Harold’s Demolition when it still stood in the inner harbour – my work holds an inherent critique of our current environmental practice and indifference to the impact on nature.

My work has won the Environmental Spirit Award from the Recycling Council of Ontario, as well as a number of local awards. I have exhibited extensively in solo and group shows in Kingston, Toronto and Eastern Ontario, and my work is held in collections in Ottawa, Vancouver, Toronto and Germany. I am a past President of the Organization of Kingston Women Artists, and have enjoyed curating and jurying a number of shows in Kingston and Brockville.   JaneDerby.net | jderby@kingston.net

Chaka Chikodzi, Stone City Sculpture Garden (detail), 2021. Photo by Chris Miner.

#4 – Providence Manor, 275 Sydenham Street

Chaka Chikodzi, Stone City Sculpture Garden

Volcanic rock from Zimbabwe, including serpentine, opal and springstone, 2021

Welcome to Stone City Sculpture Garden. After a stressful year filled with uncertainty, I invite you to reflect on these stone forms. I am a Zimbabwean-Canadian stone sculptor living in this neighbourhood. I work with volcanic rock from Zimbabwe, a geological material that is billions of years old. Thinking with the stone has helped me understand the brief nature of human life and the beauty of nature’s cycles. I hope that as you wander through this sculpture garden, you are as humbled by time as I am, and offered a space for meditation and reflection.

Artist Biography

I am a Zimbabwean-Canadian stone sculptor living, working, and raising a family in Katarokwi/Kingston. I work with volcanic rock from Zimbabwe, where I started sculpting as a teenager, and have a studio here in Kingston and in Mvurwi, Zimbabwe, where I have a team of assistants. Working with this stone here in Canada, where I have lived for the past 18 years, I have become increasingly interested in the stone itself—in the story it tells about geological history and in the relationship that I have forged with it over my years living between two continents. My recent work is inspired by the beauty and simplicity of the natural rock formations that are unique to Zimbabwe’s landscape.  ChakaChikodzi.com | @chaka_chikodzi

Kemi King, Waterworks (detail), 2021. Photo by Chris Miner.

#5 – 16 Alma Street

Kemi King, Waterworks

Audio, performance, wading pool, 2021

To be Black. To be Queer. To be a woman. Waterworks is an exploration of an experience that may or may not be shared. It is the words of a woman comfortable in discomfort; a woman in questioning.

Audiences catch her at a pool party. The music fades as she removes herself from the party. Tired, contemplative, she wonders: “why am I here? Black girls don’t swim.” She talks herself through the moment in poetry and prose—so much has happened and yet, surrounded by so much water, she still cannot cry. 

The piece explores what it means to be a Black girl in this current time and space. It discusses preconceived notions and stereotypes, how they are used by marginalized people to navigate the social world. Stereotypes are markers; they are informants of how to play it safe, but how do we work through the controlling images, the internalized racism, the dominant ideologies? How is a Black woman meant to perform?

Access the audio recording of Kemi King’s performance here:

Artist Biography

Kemi King (she/her) is a writer, director, performance artist and divisor. Her work has been produced by Obsidian and Canadian Stage, and she has created and performed works with Soulpepper Theatre and as part of the Paprika Festival. Kemi is the Artistic Director of YIKES a Theatre Company, which she co-founded in the second year of her undergraduate degree. She is always excited to participate in learning opportunities with different types of artists and collaborators. Kemi is passionate about the arts and their utility in helping to shape social consciousness.   @zenosyne__

GHY Cheung conducting the first of his series of sustained actions as part of Tying every strand of grass not yet a knot. Photo by Chris Miner.

#6 – Skeleton Park

GHY Cheung, Tying every strand of  grass not yet a knot

Sustained action, 2021

Tying every strand of grass not yet a knot takes seriously the imperative in its title. It grew out of a counter-monumental mood and, through bending, folding, pulling each blade of grass in McBurney Park, tries to conjure an atmosphere from this feeling. The gesture is a proposition for collective engagements with this site’s histories, a Sisyphean effort that could never have been unshouldered onto monumental forms, that is easily undone, endlessly repeated, never complete, and that understands memory work as a pressing civic challenge.  

GHY Cheung will be conducting this sustained action in Skeleton Park periodically over the course of the exhibition, beginning on Saturday, June 19 at 2PM

Artist Biography

I am a Hong Kong-born writer and artist. At present I am working on a project that investigates queer space in Hong Kong and the spatial practices that produce this vital undercurrent in the cityscape. I am one-quarter of the micropress Small Potatoes (with Carina Magazzeni, Ella Gonzales and Michelle Bunton) and one-half of the collective Tear Jerkers (with Michelle Bunton). Across my work, I centre queer kinships as archive, method and sustenance.   CargoCollective.com/GHYcheung/

Simon Andrew, City of the Surveilled Project (detail), 2021. Photo by Chris Miner.

#7 – 21 Balaclava Street + other locations in the neighbourhood (go find them!)

Simon Andrew, City of the Surveilled Project

Wood, rope, 2021

For the first time in history, the City of Kingston will be using a for-profit company to data scrape the citizens of Kingston. The Kingston City Council has voted in favour of utilizing Harmari Tools by LTAS Technologies to help predict, via AI, violations of non-criminal bylaws. LTAS Technologies is currently being investigated by the Canadian privacy commissioner for illegally collecting data and unlocking private social media content.

While our City Council voted in favour of this, this decision has gone largely unnoticed by the public. Data scraping our citizens for private information is a dangerous precedent to set—as residents of this city who are failing to speak out against this decision, we are doing this to ourselves; we are the city.

With my crude homespun surveillance cameras placed throughout the neighbourhood, I hope to remind viewers that our city is watching us using a poorly understood and cobbled together contract with a company with international reach to share our data. Our online personal data is being purchased by our city from a multinational corporation to keep an eye on us. It is my belief that LTAS Technologies is the sort of outfit our city should be protecting us from, not employing using our taxes.

We need to become more engaged with our municipality and understand the dangers of being surveilled by our city. These wooden camera sculptures seek to give the feeling of being surveilled. I hope they will stimulate people to ask important questions about how we should improve our community and engage with local government, making it friendlier, safer, and more locally-focused.

Artist Biography

Simon Andrew was born in Portsmouth, spent his formative years in Penwith, Cornwall, completed a BSc at Queen’s University and received his MFA from Newcastle University. While Simon was at Newcastle he was the beneficiary of The Lawrence Atwell Scholarship Award from Skinners’ Hall, London. U.K.

Simon was awarded first prize (Northern Region) for his work in The Laing National Landscape Competition. His work was also selected for The Hunting Group Contemporary Art Competition.

He has received arts council grants and is represented in major corporate collections, including Glaxo Wellcome, Hewlett Packard, Canadian Business Development Bank, Fidelity Investments and Her Majesty the Queen in Right. Simon has produced art for the artistic ventures of Mel Gibson and The Tragically Hip. He has attended residencies in both Canada and abroad and was the recipient of a full fellowship award from The Vermont Studio Center, USA. Simon won first prize for his work in Exposures, an exhibition which was judged by curators from contemporary public art galleries in Canada. He has had numerous solo shows at galleries both public and commercial at home and abroad. Currently, Simon works in Canada and England.

#8 — This installation is no longer available.

Abolition City, Neighbouring Tightwire

Projected video, painted screen, participatory mail art, 2021

From 1973 to 1995, prisoners inside Kingston’s Prison for Women (P4W) created a publication called Tightwire, which aimed to “dissolve the barriers of physical imprisonment by sharing [the prisoners’] attempts to free [themselves] from the mental bondages that engulf [them]” (from the editorial, 1975 March-April). Tightwire maintains a prolific stability across two and a half decades of print culture, acting as a powerful source of reflection, analysis, creative praxis, and revolutionary theory on the abolition of prisons, gendered violence and marginalization. The material collected in Tightwire is moving, enlightening, enraging, and motivating: these are life-affirming messages of survival and dreams of empowerment.

Neighbouring Tightwire provides a bridge between the Skeleton Park neighbourhood and communities in prison by sharing work from Tightwire contributors, and providing resources on how to send messages back to the “inside”. A screen displays a collage of images from Tightwire during the day, while at night it will present a little projected video that animates artworks, little poetry and prose from the pages of the publication. On the same site, we will provide a little-library letter-box, with resources on how to support the liberation of imprisoned people and an invitation to the Skeleton Park community to draw and write letters, poems, stories and tokens to our neighbours on the “inside”: people incarcerated in regional prisons and jails. These contributions will be assembled and distributed to community members inside and outside of prison through a zine.

Neighbouring Tightwire is about building connections between Skeleton Park neighbours and our “next-door neighbours” who the Canadian State tries to obscure from our consciousness.

#9

Onagottay, The Deer

This installation has been removed from the exhibition and is no longer available for viewing.

Next Door viewer takes a poem from Willa Molen’s The Tulip Tree Poems. Photo by Chris Miner.

#10 – 105 Raglan Road

Willa Molen, The Tulip Tree Poems

Poems on origami paper, string, binder clips, 2021

The Tulip Tree Poems are rooted in the Japanese haiku tradition: three-line poems exploring themes of nature, weather, and the seasons.

Whenever you pass by the tulip tree, you are invited to harvest one of these poems and take it home. I hope that it brings you a moment of joy.

The haiku are newly written and placed out each day, except when it rains. If you happen to find the tree empty, please do return for another visit to harvest your poem.

Artist Biography

Willa Molen works with words and images. She loves haiku for their ephemeral qualities and closeness to nature and the seasons. With the Tulip Tree Poems, she hopes to pass a moment of tranquility, humour, or wonder on to each reader.

Hayden Maynard, The Urban Environment (detail), 2021. Photo courtesy of the artist.

#11 – 108 Charles Street

Hayden Maynard, The Urban Environment

Digital illustration on vinyl, 2021

The Urban Environment is a reflection on the changes I’ve experienced in my relationship with the city and my neighbourhood. Like many others, the pandemic has caused me to take walks more frequently and find them more enjoyable than ever before. I’ve grown to deeply appreciate the time where I can explore and wander my city outside the confines of my room. This illustration celebrates local parks and neighbourhoods by presenting a landscape where local wildlife exists in harmony with a green city. My work imagines giant versions of local urban wildlife moving between houses and interacting with our neighbourhoods.

I hope that my banner will delight and inspire people of all ages, and from all backgrounds, to appreciate both the small things in their neighbourhoods and the beautiful public parks of their city. I want people to be actively engaged in the spirit of their city and prompt discussions about the importance of maintaining and expanding parks and conservation areas, especially in these trying times.

Artist Biography

Hayden Maynard is a Kingston-based illustrator who graduated from the Illustration program at Sheridan College. His work is inspired heavily by the natural world and defined by a fascination with pattern and stylization.

Hayden is an industry-recognized artist and has worked for a number of high-profile clients including The New York Times, The Washington Post, The Globe and Mail, The Walrus, The City of Toronto and the City of Kingston.  HaydenMaynard.com | @HaydenMaynard 

Community members listening to Ying Lee + Kate Yüksel’s Hear, Then, Now (2021). Photo by Chris Miner.

#12 – 98 Charles Street

Ying Lee + Kate Yüksel, Hear, Then, Now

Audio, 2021

9:26 minutes, on loop 9 am–10 pm

The pandemic has changed what we hear in our domestic spaces. Sounds that normally go unnoticed seem louder. Others, like a cough or the doorbell, carry fresh meaning. New sounds emerge when we use our homes as offices, classrooms, gyms, hair salons and more 

Our sound installation is composed of two audio loops that tell stories about a pair of fictional households. The first is home to one adult, while the second contains a family with young children. The recordings include a poem, “micropastoral”, that reflects on life in lockdown through wild landscapes and manufactured interiors. These sound portraits remind us of lives that have continued and adapted, behind closed doors, for many months. 

Artist Biographies

Ying Lee’s fiction includes the award-winning young adult mystery series The Agency (Candlewick Press), which was translated into six languages. Ying’s poetry has won Arc Poetry Magazine’s July 2020 Award of Awesomeness and been shortlisted for Australia’s 2021 Peter Porter Poetry Prize. She has lived in Katarokwi/Kingston since 1998. 

Kate Yüksel’s photographs have appeared in international publications including Orion Magazine and Palimpsest, Yale University Graduate School’s literary arts magazine. She is a recipient of an Ontario Arts Council (OAC) Visual Arts Emerging Artist Grant and an OAC Exhibition Assistance Grant. She received her MFA from Minneapolis College of Art & Design and BFA Degrees in both Photography and Graphic Design from the University of Illinois.

Nicholas Crombach, Every slated lot has a previous story (detail), 2021. Photo by Chris Miner.

#13 – Bagot and Dufferin Street

Nicholas Crombach, Every slated lot has a previous story

Pressed flowers, plate glass, construction rubble, 2021

Every slated lot has a previous story conveys cycles of growth and deconstruction to interrogate the questions that percolate around local heritage conservation, the dilemmas surrounding urban growth in Kingston, and the sensitive balance of maintaining the city’s heritage character and “sense of place” as our city evolves. The installation consists of dense clusters of broken plate glass that are protruding out of a mound of rubble. Pieces of plate glass are paired together with dried, pressed flowers sandwiched between them. The pairing of the glass shards and flowers that make up the work oscillate between plant growth, construction debris, and the centuries-old practice of embedding broken glass on the tops of walls to secure a space. Every slated lot has a previous story provokes reflection on the historical layering of the Swamp Ward and, by extension, the evolution of Kingston’s urban environment as a whole. 

Artist Biography

Nicholas Crombach (BFA, 2012) has been awarded the Elizabeth Greenshields Foundation Award (2016). His recent solo exhibitions include Behind Elegantly Carved Wooden Doors (Art Mûr Montreal, 2017) and The End Of The Chase, which was exhibited at New Art Projects in London UK (2018), Art Mûr Berlin (2018) and Art Mûr Montreal (2019). Crombach’s collaborative exhibition with artist Nurielle Stern, Whale Fall, was shown at the Canadian Clay and Glass Gallery in 2019. From 2016-2017 Crombach participated in a year-long studio residency at The Florence Trust (London, UK) and has been invited to take part in a MASS MoCA residency (summer 2022) in North Adams Massachusetts. Most recently, Crombach was commissioned by the City of Kingston to create Horse and Cart, a large-scale public artwork for Victoria Park.   NicholasCrombach.com | @NicholasCrombach 

Amelia Glancy and Benjamin Nelson, Signs of Life (detail), 2021. Photo by Chris Miner.

#14 – 47 Raglan Road

Amelia Glancy + Benjamin Nelson, Signs of Life

Plant dye and lake pigments from foraged materials, raw canvas, cyanotype prints, 2021

Signs of Life draws on the historical geographic location of the Inner Harbour neighborhood to explore questions of ephemerality in relation to our interconnected lived experiences. Consisting of natural dyes made by the artists from plants native to the area, the materiality of the installation and its evolution over the course of the exhibition reflects the neighborhood in which, and for which, it was created. As such, the project simultaneously functions as a documentation of this specific environment and moment in time by visualizing the local vegetation and weather systems encountered during the period of its creation.

Due to the characteristics of the dyes and their application on the raw canvas as unfixed pigments, the work will evolve as rain, humidity, pollution, and sunlight distort and interact with the original composition. Within this context, Signs of Life is further structured as a collaboration between artist and nature, whereby the hand of the artist is only present in the initial materiality of the work. Once installed, the artists give over the work to its environment for the duration of the exhibition, transforming through the input of the elements.

Following traditional botanical prints, the cyanotype photographic blueprints mounted behind the canvas illustrate each plant used to create the dyes. In addition to the plant name, each print displays a specific mark which corresponds to fixed geometric marks depicted on the canvas. As such, the prints not only act as a dissected ledger to read the evolution of the canvas and its composition of dyes, but further represent the historical tracing of geography and horticultural knowledge that underlies these signs of life.

Artist Biographies

Amelia Glancy (she/her) is an artist and art historian based in Kingston, Ontario. Her interdisciplinary approach combines research and project-based practices to explore ‘ways of knowing’ through sense, memory, and process. Within this context, curiosity and play are prominent aspects of Glancy’s practice, and she often incorporates diverse visual modalities into her works including printmaking, collage, and mixed-media illustrations. Her current practice considers questions of identity/relationship through asynchronous collaboration, women’s craft and domestic art, and the intersections between politics and experimental arts pedagogy.

Benjamin Nelson (he/him) is a designer and illustrator based in Kingston, Ontario, Canada. He hopes to trigger memories and feelings through his design and print work. Nelson has produced work for numerous national and international clients such as Paper Bag Records, Dangerbird Records, Universal Music, The National, Death From Above 1979, Sam Roberts Band, Our Lady Peace, The Rural Alberta Advantage, and Polaris Music Prize. 

John Wright’s Our Oldest Neighbours (1 of 3 panels). Photo by Chris Miner.

#15 – 479, 482, 495 Bagot Street

John Wright, Our Oldest Neighbours

Oil paint, pine panels, 2021

The mature silver maple trees here on Bagot Street are around 80–100 years old. Shade from their leafy canopy has reduced heat build-up on the roofs and street below, filtered the air, transpired water and increased absorption of rainwater across that time. In addition to ameliorating the hotter summers and more severe storm events brought by climate change, these large trees capture as much carbon as two average cars produce every year. As these trees are removed from the streetscape, however, we are not keeping up in our efforts to replace them. We should be expanding, not reducing, the urban forest.

The panels depict the sculptural buttresses, dendritic lattice of their crowns and extensive canopy of the surviving trees in the Skeleton Park neighbourhood.  Please feel free to make a rubbing print copy of your own, or better yet – plant a replacement tree.

View John Wright’s instructional video for making rubbing prints here.

Artist Biography

John Wright is a landscape architect and urban designer who is fascinated by cultural landscapes and the role of natural processes in urban environments. His artwork reflects these interests and his professional focus on public places.

In addition to drawing and painting, his work in dry-point and linocut printmaking explores expression of the care essence of a subject. In 2016, he was able to spend several days in a collective printmaking studio in Havana, Cuba. The large, sculptural relief character of the printing blocks displayed in the Taller Experimental de Gráfica inspired the use of painted woodcuts for Our Oldest Neighbours.    Johnssketchjournal.blogspot.com | @drawn_along_the_way

Screen capture of Swimming Upstream (2021) by Jenn E Norton, Matt Rogalsky, Laura Murray and Dorit Naaman. Photo courtesy of the artists.

 #16 – Doug Fluhrer Park

Jenn E Norton, Matt Rogalsky, Laura Murray, Dorit Naaman

Swimming Upstream

Augmented reality, 2021*
*Note: This installation requires viewers to download the Swimming Upstream AR app

Click here to download Swimming Upstream AR on the App Store (iPhone)
Click here to download Swimming Upstream AR on Google Play (Android)

It may be hard to imagine it now, but in the past, fish were abundant in the Ka’tarohkwi river. In the 1750s, Pierre Pouchot reported that in the spring and early summer the creeks and rivers running into Lake Ontario teemed with spawning fish; “the quantities that go up on some days,” he wrote, “is inconceivable.” The Mississauga people (Mishi-zaagig – people of the large river mouths) depended on their fish relations for a large part of their livelihood. The construction of mills and dams and destruction of wetlands by settlers, not to mention overfishing and pollution, have drastically reduced the number of fish. They are still here, though. The herons and ospreys know that, and some of you do too! We hope this audio and video piece will immerse you in the fish world of this river.

Viewing instructions

To see this piece, download the ‘Swimming Upstream AR’ app from the App Store or Google Play. At the installation site, look around you until you see the symbol shown below. Open the app on your mobile device and allow your camera to be used. When you aim your mobile device at the symbol, you will see animated content.

Artist Biographies

Jenn E Norton is an interdisciplinary artist who often uses animation as a starting point in her studio practice.  Norton’s recent works are interactive as a means to explore physical and virtual forms of communication, as seen in her kinetic sculpture, augmented reality apps, and particularly in her multimedia installations. Her videos and installations have been exhibited nationally and internationally and have won multiple awards. Norton is an adjunct lecturer and Post-Production Technician in Film and Media Studies at Queen’s University.   https://www.jennenorton.com/ | @JennENorton

Matt Rogalsky works in live electronic music composition and performance, sound installation, and study of late 20th century compositions by David Tudor and other composers. He has been active in performance of David Tudor’s music since 1996, and is based in Kingston Ontario where he runs the Sonic Arts Studio at Queen’s University. Recent projects include the outdoor sound installations Octet (2016) and Into the Middle of Things (2017, with LJ Cameron), which are based on research into the life and work of William WH Gunn, Canadian conservationist and field recordist. In 2021 Rogalsky will begin publishing electronic compositions from a series entitled Revisitations, with a new release on XI Records.

Laura Murray, a Professor at Queen’s and Co-Director of the Cultural Studies Graduate Program, lives near the Cataraqui River which has become a major inspiration for her work. The Swamp Ward and Inner Harbour History Project (https://swampwardhistory.com/, 2015-2018) built oral and archival history into walking tours, a photography exhibit, and podcasts. Laura was a member of Wellington X, a community group that successfully stopped the construction of a road through Douglas Fluhrer Park. Currently, she is researching the eighteenth-century treaty history of the north shore of Lake Ontario, bringing together archival sources with Mississauga cultural and ecological knowledge. With Dorit Naaman and Erin Sutherland, she is embarking on a multi-year community-engaged project concerning environmental and social histories of Belle Park.

Dorit Naaman is a documentarist and film theorist from Jerusalem, and a professor of Film, Media and Cultural Studies at Queen’s University, Canada.  In 2016 she released an innovative interactive documentary, Jerusalem, We Are Here, offering a model for digital witnessing.  Dorit’s in-production collaborative project A Totem Pole on a Pile of Garbage: Contending with Colonial and Environmental Violence in Kingston, Ontario is situated in Belle Park and Belle Island, and continues her interest in using creative practice to make visible, legible and audible that which has been actively erased or obfuscated. 

BelleParkProject.com

For media inquiries or any general questions about the exhibition, please contact Nicole Daniels, Next Door Coordinator/Curator, at SPAFNextDoor@gmail.com