NOVEMBER 2018
Interviewed for the Koffler.Digital publication, Work in Process, along with Annie Wong, Diana Reyes, Jordan Tannahill, Lido Pimienta and Liz Ikiriko.

Publication for Through lines exhibition at Koffler Gallery now available online. Text by curator Noa Bronstein.


OCTOBER 2018
All That is Left Unsaid on view at LagosPhoto Festival 2018, opening on October 27 and running until November 15, 2018 in Lagos, Nigeria.

Delivered a talk as one of nine speakers at TEDxPortofSpain 2018 in Port-of-Spain, Trinidad.

Reviewed Liberty Theater, the Rosalind Fox Solomon exhibition on view at Stephen Bulger Gallery until October 13, for Momus.


SEPTEMBER 2018
A Welcome Weight on My Body reviewed by RM Vaughan as a Critics’ Pick on ArtForum.com.

Here We Are Here: Black Canadian Contemporary Art
reviewed by Felicity Taylor in esse magazine, Issue 94.

In conversation with artists from Through lines exhibition, led by Lindsay Nixon, Indigenous editor-at-large at Canadian Art, as part of Canadian Art Gallery Day Toronto on September 15.

All That is Left Unsaid
on view in the exhibition Through lines at Koffler Gallery, opening on September 13 and running until November 25, 2018 in Toronto, ON.

A Welcome Weight on My Body,
a solo exhibition of photographic work opening at Gallery 44 Centre for Contemporary Photography in Toronto on September 7, and running until October 13. Artist talk with Lily Cho and Leila Timmins on September 8.


JULY 2018
RAGGA NYC featured in an essay by Tiana Reid in Canadian Art.

All That We Left Unsaid
at ltd los angeles, reviewed by Rupert Nuttle in C Magazine, Issue 138.

Here We Are Here: Black Canadian Contemporary Art featured in Culture Trip.


JUNE 2018
What We Owe To Each Other, a public research project will involve weekly conversations as a part of the group exhibition, RAGGA NYC, running from June 21 to August 11 at Mercer Union in Toronto.


MAY 2018
Here We Are Here: Black Canadian Contemporary Art opens at Montreal Museum of Fine Arts on May 12, and runs until September 16.

APRIL 2018
Here We Are Here: Black Canadian Contemporary Art reviewed by Kelsey Adams in Canadian Art.

All That is Left Unsaid
on view in the exhibition at; into; across at Ulrich Museum of Art, opening on April 7 and running until August 12, 2018 in Wichita, KS.


MARCH 2018
Travelling to Cambridge, MA to attend Black Portraitures IV: The Color of Silence, the eighth conference in a series of conversations about imaging the black body.

All That is Left Unsaid reviewed by Sharon Mizota in the Los Angeles Times.

FEBRUARY 2018
All That is Left Unsaid on view at ltd los angeles, opening on February 16 and running until March 30, 2018 in Los Angeles, CA.

In conversation with curators Silvia Forni and Julie Crooks at ROM Daytime: Here We Are Here on February 8. Lecture, coffee and exhibition tour starting at 11:00am (free with museum admission).

Here We Are Here: Black Canadian Contemporary Art reviewed by Chris Rattan in NOW Magazine.

Here We Are Here: Black Canadian Contemporary Art reviewed by Murray Whyte in The Toronto Star.

Featured on the cover of NOW Magazine as part of an article on Black Futures Month.


JANUARY 2018
Suck Teeth Compositions (After Rashaad Newsome) on view in the group exhibition, Here We Are Here: Black Canadian Contemporary Art, opening January 26, 2018 at The Royal Ontario Museum. The exhibition opens with a free artist panel at 6:00pm.

Black Men and Me on view in the group exhibition, If You’ve Got It, Flaunt It, opening on January 25th and running until March 24th, 2018 at McIntosh Gallery in London, ON.

Interviewed by Merray Gerges for Canadian Art’s In the Studio Video Series.

Artist-in-residence at the University of Toronto Scarborough for Winter 2018.


DECEMBER 2017
In conversation with Josué Azor at Visibility, a two-day AGO symposium (Dec 3 and 4) presented in partnership with Aperture magazine, bringing together artists, writers and scholars working with photography and image culture to consider the potentials and limits of the medium as a vehicle for empathy, agency, and freedom, both individual and collective.


NOVEMBER 2017
A Dark Horse in Low Light: Black Visuality and the Aesthetics of Analogue Photography, a public talk at Gallery 44 Centre for Contemporary Photography on November 9th, in dialogue with Yaniya Lee.

Parade of Champions: The Failure of Black Queer Grief, nominated by Transition Magazine for the 2018 Pushcart Prize


OCTOBER 2017

The Idea of History
, a panel conversation presented by Canadian Art at Art Toronto on October 28th at 6:00pm, with Deanna Bowen and Yaniya Lee, and moderated by Merray Gerges.

Parade of Champions: The Failure of Black Queer Grief, essay and images, featured in the fall issue of
Transition Magazine, launching October 27th at Harvard Book Store in Cambridge, MA.

SEPTEMBER 2017
Reviewed the AGO exhibition, Free Black North, for the Fall 2017 issue of Canadian Art, launching on September 23rd at Scrap Metal

Parade of Champions on view in a solo exhibition, opening on September 16th and running until October 21st, 2017 at Studio XX in Montreal, in partnership with Videographe.

Ricky Varghese’s essay on Parade of Champions, published in the fall issue of esse arts + opinions magazine.


Joining Ryerson MFA in Documentary Media program as a contract lecturer, teaching Topics in Cross-Cultural Communication, a course exploring contemporary documentary practices and aesthetic strategies employed by Indigenous, racialized, feminist and LGBT media artists and filmmakers to communicate alternate discourses and diverse perspectives.


AUGUST 2017
Any Other Way: How Toronto Got Queer, an anthology by Coach House Books, short-listed for the Toronto Book Awards.

Featured in Light Grows the Tree, an online project and exhibition at BAND Gallery documenting a community of black artists, writers, curators and collectors in Toronto. Curated by Liz Ikiriko, and featuring photographs by Liz, Yannick Anton, Ebti Nabag and Dainesha Nugent-Palache.

In pre-production for a new video installation, Suck Teeth Compositions (After Rashaad Newsome). More info available at www.suckteeth.ca.


JULY 2017

Selected for the 2017 Intergenerational LGBT Artist Residency, which unfortunately was postponed to 2018 due to floods on the Toronto Islands.


JUNE 2017
EMILIA-AMALIA chapbooks launch at the Toronto Art Book Fair, featuring my short essay, I Am Not Here to Be Who I Already Am

Reading an excerpt from Red Spot Nights and joining a panel discussion on the anthology Any Other Way: How Toronto Got Queer at Toronto Reference Library

Black Men and Me screens
in 7a*md8 On-Screen, a collection of performances designed specifically for the camera by local, national and international artists.

Black Men and Me
screens in CFMDC’s Local Heroes Retrospective at Inside Out Toronto LGBT Film Festival. 


MAY 2017

Reconstructing Blackness: Michèle Pearson Clarke on Portraiture and Identity, a workshop at Gallery 44 Centre for Contemporary Photography on May 9th

Red Spot Nights, a short personal essay published in Any Other Way: How Toronto Got Queer, an anthology by Coach House Books


APRIL 2017
I’m Thinking of Ending Things, commissioned by the Robert McLaughlin Gallery and on view in the exhibition, Visitor Information, curated by Linda Jansma and Jayne Wilkinson, opening April 29th and running until September 19th, 2017 at the RMG in Oshawa.

Recipient of Ontario Arts Council Visual Arts Project grant


MARCH 2017
All That is Left Unsaid on view in the exhibition, Fugitive Desires, curated by Chandra Frank and opening on March 3rd and running until April 28th, 2017 at 198 Contemporary Arts & Learning in London, UK

DMG/Studio Visit Artist Lecture, March 16th at Doris McCarthy Gallery, Scarborough, ON

All That is Left Unsaid screens at the Ann Arbor Film Festival, March 21st-26th


FEBRUARY 2017
All That is Left Unsaid on view in the exhibition, All That is left unsaid / at the very point where words fail us, curated by Sally Frater and opening on February 24th and running until April 8th, 2017 at Centre [3] for Print and Media Arts in Hamilton

Commissioned writer for EMILIA-AMALIA Session VII: How to Ask a Question, part of a series produced by an exploratory working group that employs practices of citation, annotation, and autobiography as modes of activating feminist art, writing and research practices.