Faisal Karadsheh is a Jordanian-Palestinian multidisciplinary artist currently based in Tkaronto. His work spans across various media including painting, sound, video, installations and performance, with his most recent presentations at NAISA’s annual Deep Wireless festival, the Toronto Arab Film Festival and Trinity Square Video. Karadsheh’s artistic practice explores how and why a body- which consumes space and assumes time – adapts, reproduces and constructs itself. Disparate narratives, such as skin, heredity, habitation and home, self-identification and preservation, converge to extend beyond the body’s surface. Through a process of collecting corporeal remnants like consumer waste, cultural artifacts and biological by-products, he ultimately works towards redefining sociocultural meanings around the intricate material relationship within, and between, the body and its environment. Recently, he has been researching the possibilities of translating traces of collective bodies through sound, pushing beyond the humanist emphasis on the visual.

Sarah Jihae Kaye is a traditional and interdisciplinary artist based in
Katarokwi/Kingston currently working towards her BFA (Honours), BEd, and minor in Geography at Queen’s University.
As a Korean-Canadian woman, her work illustrates themes of loneliness and displacement, and abstract representations of self. Kaye specializes in performance, printmaking, and sculpture to investigate the body’s capability of storing memory, and its physical limits. Through introspection, She unravels narratives of lived experiences, translating personal moments into a shared encounter that invites viewers to delve into their own perceptions of solace.
Sarah Jihae Kaye is a recipient of the Margaret Craig Award in Fine Arts (2023) and has exhibited in local galleries including Gallery 1313 (Toronto), and the Union Gallery (Kingston). Her current project “Love is a Red Dot” delves into the psychological transitions from familiarity to discomfort, drawing inspiration from Sigmund Freud’s book Das Unheimliche (1919) where he defined a specific moment as “unheimlich” which translates to “not from home”

Jung-Ah Kim (She/her) is an interdisciplinary researcher/artist based in Kingston. Her research centres on investigating her relationship with a discovered Korean traditional carpet in Canada. She explores ancient weaving techniques and their intersection with human-machine relationships. Her work revolves around experimenting with material conditions and processes within both digital and craft-based mediums.

Yaniya Lee’s writing, research and collaboration focus on the ethics of aesthetics. She was a member of the editorial team at Canadian Art magazine from 2017-2021, and now edits at Archive Books. She has taught at the University of Toronto, Queen’s University and the Dutch Art Institute. Last spring, she started as the mentor for writing & reflection at de Appel curatorial program in Amsterdam.

She has written about art for museums and galleries across Canada, as well as for Vogue, Flash, FADER, Art in America, Vulture, Racar: Canadian Art Review, Montez Press and Asia Art Archive.

Lee frequently works with collaborators on symposiums, programs, and workshops, most recently what it feels like is good enough (2023); Ideas From Moving Water (2022, with Lillian O’Brien Davis, Letticia Cosbert Miller and Tiana Reid); Black History Navigational Toolkit (2022, with Camille Turner); WhAt She SaId: Promiscuous References & Disobedient Care (2021, with Cason Sharpe and Zoe Sharpe); Song. Prayer. Scream. A praxis of looking (2021, with Jessica Lynne), Bodies, Borders, Fields (2019, with Denise Ryner), and Desire x Politics (2019, with Fan Wu).

Anjalee Nadarajan is a poet, fiction writer, musician, and PhD candidate in English literature at York University. Her written work has been published in Acta Victoriana, Living Hyphen, and antilang magazine among other places. She cares deeply about pattern and rhythm and strives to incorporate those formal elements in her different artistic practices.

Elizabeth Peprah-Asare (she/her) is a Third Year Cultural Studies Ph.D. Candidate. Her project centres and elevates the sacred knowledge of her intergenerational Ashanti-Ghanaian abusua (matrilineal lineage) Elders to explore solutions surrounding marital violence prevention interventions within contemporary Ghanaian communities. During Peprah-Asare’s doctoral Studies, she created a praxis titled “Re-Constructing Eden” through an intervention that she has tentatively named as “The AfroWomanist Archive”–a multi-faceted and interdisciplinary tool used to uncover the multivocality of African women’s stories that have been hidden, marginalized, erased, and fragmented within colonial and neocolonial archives. As a bibliophile and philomath, Elizabeth loves learning from global cultures and the diverse ways that multicultural women enact resilience towards the various manifestations of misogynoir and patriarchy. Finally, Peprah-Asare always seeks to include the interconnectedness of environmental racism, earth justice, and ecowomanism within the zeitgeist of climate change and economic disempowerment within the lives of women of colour.