Kapsula

This experimental exhibition catalogue was created in collaboration with Gallery 44 Centre for Contemporary Photograpy in Toronto, Canada to document their twenty-first annual exhibition of emergent photography, Proof. The Magazine would like to extend a special thanks to Noa Bronstein, Head of Exhibitions and Publications at Gallery 44, both for her contributions to the document itself and for making this special issue possible

Kapsula

This experimental exhibition catalogue was created in collaboration with Gallery 44 Centre for Contemporary Photograpy in Toronto, Canada to document their twenty-first annual exhibition of emergent photography, Proof. The Magazine would like to extend a special thanks to Noa Bronstein, Head of Exhibitions and Publications at Gallery 44, both for her contributions to the document itself and for making this special issue possible

Unknowable bodies, unthinkable sexualities: lesbian and transgender legal invisibility in the Toronto women's bathhouse raid

Although litigation involving sexual orientation and gender identity discrimination claims has generated considerable public attention in recent years, lesbian and transgender bodies and sexualities still remain largely invisible in Anglo-American courts. While such invisibility is generally attributed to social norms that fail to recognize lesbian and transgender experiences, the capacity to 'not see' or 'not know' queer bodies and sexualities also involves wilful acts of ignorance. Drawing from R. v Hornick (2002) a Canadian case involving the police raid of a women's bathhouse, this article explores how lesbian and transgender bodies and sexualities are actively rendered invisible via legal knowledge practices, norms and rationalities. It argues that limited knowledge and limited thinking not only regulate the borders of visibility and belonging, but play an active part in shaping identities, governing conduct and producing subjectivity

Carving Rings of Stone

My artwork illustrates my relationship with nature. I am heavily inspired by nature and utilize its colors, shapes, and textures throughout my works. In my recent studies, I have begun to use a part of it to create my jewelry: the stone. In this study, I reverse the normalized idea of how silver and stone are arranged in jewelry. Instead of setting a stone in a silver setting, I carve a stone and set the silver atop it.. In this new relationship, the stone has now become the supporting, wearable mechanism and the silver the added embellishment. Acting like a patina, the silver highlights the details carved into the stone. As I continue to explore this body of work, I will utilize aspects of nature through carved embellishments within my work and by the natural, unrefined stone element that I carve. I intend to make a series of rings and bracelets carved of stone with silver inlays as well as experiment to discover how to attach the silver to the stone

Stone Carving and its Relationship to Precious Metals

This project explores stone carving and its relationship to precious metals by examining techniques for attaching stone to silver without the use of a cold connection, a setting of some sort or a rivet. This study aims to reverse the normalized idea of how stone and metal are viewed in the jewelry world. The stone is normally seen as the added embellishment and the silver seen as the base mechanism of the piece, but here the relationship will be reversed. This study investigates how to cast with stone and gems included in an investment (a plaster mold for casting). Bridge construction, dentistry, and the history of stone carving also contribute to the research on the attachment of metal to stone. More specifically, I look at how bridge engineers create a lasting connection between a steel frame and its stone base. This work also takes account of how dentists attach a gold filling to a tooth. Building on that research, this project includes experiments in the metals studio at Winthrop University that relate to stone carving and attaching metal to stone. I experimented with the use of silver as a wire, sheet, and molten substance. There has also been an investigation into the properties of the stones used and discovering what kind of connection they create with metal. The final piece of this project is a work of art based on the researched methods for connecting metal to stone without the use of a cold connection

Shakespeare’s Epistemology and the Problem of Truth

The Encyclopedia Britannica defines epistemology as “the philosophical study of the nature, origin, and limits of human knowledge.” What, according to Shakespeare, was the origin of human knowledge? Various critics have attempted to understand Shakespeare’s epistemology, but most have ignored the blatant evidence in the plays that Shakespeare was, in fact, somewhat obsessed with epistemology. Digging deeper, it would seem that his attitude to the subject was informed by his readings of obscure Greek and Roman philosophers, especially Gorgias. But given that the man from Stratford apparently could not read Greek (it was not taught in 16th-century provincial schools), how could he have been able to read these theoretical and scholarly works? In this essay, I argue that the first Greek sophist, Gorgias, whose work is often associated with the skepticism delivered to early modern England by Sextus Empiricus, was a huge influence on the true author. I show that during the Enlightenment, there was an intellectual war between early scientists who studied nature and the ancient faithful who studied God. Shakespeare neatly skirted this dilemma by focusing on the possibility that art might itself created its own reality — one that was not immutable ‘truth’ in the traditional sense but rather a very mutable fiction that must always necessarily be viewed with suspicion. In the modern world, with the advent of ‘fake news’ — and a new and unsettling relativity concerning facts — Shakespeare’s bold experiment in epistemology becomes startlingly relevant

Carving Rings of Stone

My artwork illustrates my relationship with nature. I am heavily inspired by nature and utilize its colors, shapes, and textures throughout my works. In my recent studies, I have begun to use a part of it to create my jewelry: the stone. In this study, I reverse the normalized idea of how silver and stone are arranged in jewelry. Instead of setting a stone in a silver setting, I carve a stone and set the silver atop it.. In this new relationship, the stone has now become the supporting, wearable mechanism and the silver the added embellishment. Acting like a patina, the silver highlights the details carved into the stone. As I continue to explore this body of work, I will utilize aspects of nature through carved embellishments within my work and by the natural, unrefined stone element that I carve. I intend to make a series of rings and bracelets carved of stone with silver inlays as well as experiment to discover how to attach the silver to the stone

The Materiality of Flowers

The Materiality of Flowers explores the ideas of sacrifice relating to Ancient Greek times. Many Greek myths retell stories of sacrifice (either forced or given willingly). Through my material usage, I explore sacrifice: one that is naturally given versus one that is taken. In my series, I have created two dresses and accompanying adornments that represent the Goddesses Demeter and Artemis. Nature is a consistent theme in mythology that helps explain the seasons, weather, and harmony of living creatures. In this series I use physical objects of nature to create my work, creating an even stronger bond between mythology and nature. The physical process of picking through the weeds and flowers for my dresses made me think of how the world was sacrificing these plants to me, unwillingly. As I worked with the material, not every seed and leaf stayed attached and I likened each petal that dropped to a sacrifice given to the goddesses. In my first dress Demeter , the wheatgrass shifts from a matte finish to a glossy and translucent finish. This shift in coatings represents the sacrifices given to the Goddess and how she interweaves them with her divinity. There is also a sacrifice of physical labor within each dress and adornment that speaks to how tedious and meticulous each stitch was to make. My work explores the idea of sacrifice given to the gods by representing the goddess Demeter and Artemis through garments and by revealing the sacrifices that went into making each piece