curatorial

WORLD'S GREATEST FREEDOM SHOW (2025) is an online exhibition on the history of Emancipation Day in Windsor, ON.

Co-curated for the Jackson Park Project, the exhibition completes the requirements for Master of Museum Studies, Faculty of Information, University of Toronto. 
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TEAPOTS, Steeped in History (2024) was a collaborative virtual exhibition developed for the MMSt program. 

​The teapots from China, Japan and England in this virtual exhibition are presented as metaphors of shifting historical global powers – injustice, socio-political, cultural, and economic inequities. This interpretive approach disrupts the visitor’s expectations of a linear ‘teapot history’. It is hard to imagine that teapots are part of a darker history. And yet, tea culture in the west became a lucrative opportunity for colonial powers and corporate empires to advance global ambitions.  ​

Exhibitions are collaborative endeavours. Content experts,  interpretive planners, writers, editors, designers, photographers, and preparator work together in the fulfillment of a museum's mission. In my early curatorial work and writing, I employed a traditional art historical lens: formal innovation in the artwork of a single artist. 

In my current curatorial work, a social justice lens reframes artworks/items through meaningful contemporary issues.  From Big Idea to selection of genre for public facing texts, an exhibition ensures relevance with information and ideas that speak to the visitor's personal experiences. 
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PATERSON EWEN, Critical Works (1992) was a large exhibition of works on paper. This was my first major curatorial initiative at the AGH for which I wrote and produced a catalogue.  

The exhibition and my essay published in JCAH were based on my MA thesis on the artist.

RESOLUTION, Sylvain Louis-Seize (2019) was an exhibition at Oeno Gallery. I wrote for and produced the  exhibition catalogue.