Dependencies

My work does not exist in a vaccuum; it relies on many contexts, people, resources, and otherwise to persist. This is an unfinished list that will continue to grow of those and that to which I am dependent. I understand dependency as an exchange — those who I am dependent on are in some way also dependent on me.

To that or those that I have inevitably forgotten: this process does not end. It is not futile, but indeed by design, it is impossible. I will continue to revise, attempt, and play with the possibilities of acknowledgement on this page, as some futile efforts are worth exhausting.


Merve Kılıçer is a friend and artist with whom I collaborate with, and who has supported me singificantly with her friendship.

Mariana Aboim is an artist who has supported me significantly emotionally and practically, always lending her ear for trials, tribulations, rehearsals, and otherwise - never weary and always with feedback.

Sophie Bates is a friend and artist based in Rotterdam who has helped me crack on.

Katharina Cameron is a friend and artist who I met in Rotterdam and lived with for three months in Toronto, during which she was an immense support.

Parker Kay (Pumice Raft) is a friend and artist who I met in Toronto and continue to work with in articulating new forms in which artistic practice and facilitation can be articulated, represented, and distributed.

Joseph Baan is a friend, artist, and hopefully future collaborator who formerly organized School of Commons, where they supported research with resources and affirmations.

I have lived in Rotterdam, The Netherlands since late 2017. Here, I am able to work half the hours and make the same amount of money that I did in Toronto, where I moved from. My rent for both my studio and apartment are significantly less as well, and I have a community of artists and friends that support my practice that I built extending from the community of the Piet Zwart Institute, where I completed my MFA.

I grew up in Chicago, a city that continues to remind me where and why I have a sensitivity and affinity to sound, textures, colours, and life in public.

Margaret Huston is an artist based in Chicago and my mother, who I have learned innumerous creative, practical, and emotional skills from.

Werner Herterich is an artist based in Chicago and my father, from whom I have inherited invaluable passions for music, improvisation, performance, and archives - to name only a few.

Laurie Kang is a former collaborator who has offered friendship and essential feedback, particularly for written work.

Nadia Belerique is also a former collaborator, who I worked with alongside Laurie professionally for a moment, and with whom I also maintain an influential relationship that offers significant emotional support.

Julia Paoli once commissioned a collective work from Laurie, Nadia, and I, seeing in our practices what we hadn't noticed ourselves. She continues to be an important voice in my life and practice.

I lived in Toronto, Canada for ten years, where I had my first studios. The community in that city still hold important guideance and emotional roles in my artistic practice.

I share a studio with Dagmar Bosma, who invited me into their shared space in Rotterdam. Sharing space with them and their work has influenced my energy and practice.

Niloufar Nematollahi lived in Available & The Rat in 2022 and began programming events, meetings, and exhibitions from within and outside a fine art context. With this, she taught me how a project space can adapt and respond.

I met Pule kaJanolitji in 2022 through School of Commons, and we began sharing work and collaborating. They continue to witness, process, and contribute to my practice.

Tisa Neža Herlec hosts improvisational sound and music gatherings in Rotterdam, which I attend sporadically and am regularly reminded every time how important improvisation is in my practice. She also made possible a public collaborative work between Pule kaJanolitji, Thabiso Nkoana, and I in 2022.