Fletcher has produced a variety of socially engaged collaborative and interdisciplinary projects since the early 1990s. His work has been shown at SFMoMA, de Young Museum, CCA Wattis Institute for Contemporary Arts, Yerba Buena Center, all in San Francisco; Berkeley Art Museum; The Drawing Center, Socrates Sculpture Park, and The Sculpture Center, all in New York; PICA, Portland; The Seattle Art Museum; Signal, Malmö, Sweden; Domain de Kerguehennec, France; Tate Modern, London and the National Gallery of Victoria, Melbourne, Australia. In 2017 Fletcher was awarded as a Hallie Ford Fellow. His work was included in the 2004 Whitney Biennial and was the 2005 recipient of the Alpert Award in Visual Arts. From 2002 to 2009 Fletcher co-produced Learning To Love You More, a participatory website with Miranda July. His 2005 exhibition The American War originated at ArtPace in San Antonio, travelling to Solvent Space, Richmond, VA; White Columns, NYC; The Center For Advanced Visual Studies, MIT, Boston; PICA, Portland and LAXART, Los Angeles among other locations. Fletcher is Professor of Art and Social Practice at Portland State University, Oregon.
View Harrell Fletcher’s website here
Justine A. Chambers
Justine A. Chambers’ interests lie in collaborative creation and re-imagining dance performance. She is drawn to the movements of all bodies, and focuses on the dances that are already there – the social choreographies present in the everyday. Chambers is a founding member of projet bk, associate artist to The Dance Centre and in the winter of 2017 was an artist in residence at artist run centre 221a. Her recent works include: Semi-precious, The Choreography Walk, Family Dinner, Family Dinner: The Lexicon, Back It Up, Enters and Exits and COPY. Her choreographic projects have been presented at Agora de la Danse, Canada Dance Festival, The Western Front, Vancouver Art Gallery (FUSE), Dancing on the Edge Festival, Dance in Vancouver, New Dance Horizons and The Music Gallery. Recent collaborations include projects with Laurie Young, Claudia Fancello, Evann Siebens, Marilou Lemmens & Richard Ibghy, Jen Weih, Brendan Fernandes and Josh Hite.
Chambers works actively as a performer, external monitor and rehearsal director for a number of Vancouver-based dance companies and leads classes in contemporary dance technique and improvisation. She is Max Tyler-Hite’s mom.
View Justine A. Chambers’ website here
Born in Italy, Elisa Ferrari is an artist and curator living on unceded Coast Salish territories (Vancouver). She works with archival fragments of text, image and videography to consider the act and implications of retrieval in projects that manifest through installation, performances, artist books, sound walks and photography. Ferrari holds a BFA from the University of Architecture of Venice (IUAV) and a MAA from the Emily Carr University of Art and Design (ECUAD). From 2013 to 2017 she worked as Events and Exhibitions Coordinator/Curator at VIVO Media Arts Centre. She is a member of the Crista Dahl Media Library and Archive Committee and the Vancouver Soundwalk collective. She is part of – -/dashes, a sound performance collaboration with John Brennan.
View Elisa Ferrari’s website here
Helen Reed and Hannah Jickling
Helen Reed and Hannah Jickling have been collaborating since 2006. Their projects take shape as public installations, social situations and events that circulate as photographs, videos, printed matter, and artists’ multiples. They are currently fascinated with the “contact high” intrinsic to collaborative work, especially in their recent projects with children. Giant vegetable growers, orienteers, and therian teens also feature in their work. Helen and Hannah have exhibited and performed internationally, with both individual and collaborative work appearing in such venues as: The Portland Art Museum (OR), The Dunlop Art Gallery (SK), Smack Mellon (NY), The Yukon Arts Centre Gallery (YT), YYZ Artists’ Outlet (ON), Carleton University Art Gallery (ON), Dalhousie University Art Gallery (NS), The Vancouver Art Gallery (BC), The Power Plant (ON) and Flat Time House’s first issue of NOIT (UK). In Fall 2017 they will release Multiple Elementary, a book that explores the elementary school classroom as a site of invention and reception of contemporary art practices, co-published by YYZBOOKS and Black Dog Publishing.
Since 2015, the artists have developed their ongoing public art project Big Rock Candy Mountain, curated by Vanessa Kwan and commissioned by Other Sights for Artists’ Projects. Big Rock Candy Mountain is a candy factory at Queen Alexandra Elementary School, borrowing its name from the anti-authoritarian and comic-utopian folk song about peppermint trees, lemonade springs and soda-water fountains. The project takes form through art workshops and the production of artist editions with the students of Queen Alex.
View Helen Reed’s website here
View Hannah Jickling’s website here
View the Big Rock Candy Mountain website here
Born in Vancouver, unceded Coast Salish Territory in 1981, Carmen Papalia is a Social Practice artist and nonvisual learner who makes experiences about his access to public space, the Art institution, and visual culture. His work has been featured as part of exhibitions and engagements at: The Solomon R. Guggenheim museum, New York; the Museum of Modern Art, New York; the CUE Art Foundation, New York; the Grand Central Art Center, Santa Ana; the 8th Floor, New York; and the Contemporary Art Gallery, Vancouver, among others.
Papalia is the recipient of the 2014 Adam Reynolds Memorial Bursary and the 2013 Wynn Newhouse Award. He holds a Bachelor of Arts from Simon Fraser University in Vancouver and a Master of Fine Arts with a focus in Art & Social Practice from Portland State University. His current work includes a movement building campaign for Open Access (2015), as well as Let’s Keep in Touch (2016), a collaboration with curator Whitney Mashburn that sets a precedent for critical haptic engagement to become a viable practice within contemporary art and criticism.
View Carmen Papalia’s website here
T’uy’t’tanat-Cease Wyss is an interdisciplinary artist who works with new media and interdisciplinary arts as well as community engaged and public art. Cease is a Coast Salish ethnobotanist and recently has returned to a textiles art practice through learning Coast Salish weaving techniques in wool and cedar. She is a member of the Aboriginal Writers Collective West Coast and lives in East Vancouver. She is a beekeeper and community engaged gardener.
View T’uy’t’tanat-Cease’s website here