Join us for an in-person artist walk-through of Proof 30, featuring artists Beau Gomez, Michaëlle Sergile and Morgan Sears-Williams.
Proof is Gallery 44's annual exhibition of work by emerging Canadian Artists that reflects a range of current concerns and practices in contemporary lens-based media. Proof is often one of the first exhibitions in a professional context for an emerging artist. It is Proof’s 30th anniversary! Stay tuned for special anniversary programming as we look through the Proof archive!
Opening Reception to follow from 6:00 - 8:00PM.
Beau Gomez is a lens-based artist whose practice is informed by ideas, challenges and conversations around cross-cultural narratives as they relate to positions of community and of otherness. He is interested in activating storytelling and the realm of possibility it offers—as a vehicle for illustrating memory, as an operative point of tension and affect and as a radical exercise in holding space. Traversing visual and verbal material, his work is grounded in image-making as a conduit between individual and collective history, giving permission to shared means of learning, nurturing and renewal.
Michaëlle Sergile is an artist and independent curator working mainly on archives including texts and works from the postcolonial period from 1950 to today. Her artistic work aims to understand and rewrite the history of Black communities, and more specifically of women, or communities living in diverse intersections, through weaving. Often perceived as a medium of craftsmanship and categorized as feminine, the artist uses the lexicon of weaving to question the relationships of gender and race.
She has recently exhibited at the Musée national des beaux-arts du Québec, the Musée d'art de Joliette and the Dak’Art Off Biennale. She was long listed in 2022 for the Sobey Award. In 2023, she won Visual Artist of the Year at the Gala Dynastie and started a residency at the Darling Foundry.
Morgan Sears-Williams (she/her) is an interdisciplinary artist and cultivator based in Toronto and Vancouver. Sears-Williams’s practice embraces an embodied and personal reflection on the body and queer community while speaking to larger structures of power, oppression and social constructions of space. Investigating the use of analog film as a form of projected image and as a sculptural material she considers space and queerness through analog technologies, creating experimental topographies through photographic film and moving images. Bridging eco-processing, experimental film and queer history (both personal and political) she aims to create intimate experiences for viewers to expand their ideas of queer space and time.
Thank you to our reception sponsor
