Quick: remote. Each time I see you, you appear considerably more in unison; precise. A pull back shot with rack focusing on your stare; off centre. Now even further. The thought of never reversing; marks your unexpected return; again; just real and raw. Draw: art about art.
Aisha-Zalika Simpson is an interdisciplinary artist and Criticism and Curatorial Practice major at OCAD University. Studying different art practices, Simpson has developed an appreciation for the potential art has to connect people, stimulate discussion and create positive change. Her Criticism and Curatorial foundation enables Simpson to approach her work with both a theoretical lens and a pragmatic approach to art making and curating. Simpson is participating in Project 417’s presentation "Unveiling the Myths" – an exhibition at Yonge-Dundas Square on August 3rd and 4th, 2011, in Toronto.
Aisha-Zalika Simpson
Clear Window · Report
Today
8:33pm
Hi Aisha.
8:33pm
Hi.
8:35pm
How were you first introduced to the group Alliance Against Modern Slavery based in The Harriet Tubman Institute at York University?
8:37pm
In the Fall, I attended a talk by Benjamin Perrin regarding his book “Invisible Chains” at the University of Toronto I met AAMS Co-Founder and CEO, Karlee Sapoznik at the beginning of the evening. She introduced herself and told me about the AAMS. We kept in touch from that day forward since I wanted to get on board and involved with the organization.
Karlee Sapoznik, AAMS Co-Founder/President/CEO
Karlee and the other AAMS executives were planning their inaugural launch and so I pitched the idea of an art auction to help raise funds and awareness. I approached my artist friends about the idea and Karlee connected me with a few of her contacts. The Art Auction was held in conjunction with the AAMS launch at The Sandra Faire and Ivan Fecan Theatre in January 2011. It was a great success.
8:42pm
How was the art auction organized and linked to the official AAMS launch event?
Were the funds generated from the auction directed to AAMS initiatives?
8:49pm
The auction was held on both days of the launch. Works were setup in the foyer of the Sandra Faire and Ivan Fecan Theatre. The funds raised from the auction went to the AAMS in support of their endeavors.
8:50pm
Who were some of the other participating artists? Did you informally curate the auction?
8:54pm
Nicole Findley, Rachel Gautreau, Melody Hansen, Ruth Harrison, Ruth Oosterman and I were the participating artists.
When I invited friends to submit work, I did explain the art auction was to help raise funds for the AAMS as well as to raise awareness regarding human trafficking and modern forms of slavery.
Together we explored possible themes and ways of representing these ideas effectively.
8:55pm
Were new works created specifically for the show on these themes?
8:57pm
Yes, some artists created new works.
8:59pm
Can you describe how some of these new works were designed or how the art showcased these complex themes in order to bring to light the AAMS efforts to alleviate international injustices?
9:07pm
This was a challenge many in the group definitely faced: How does one depict a laden theme without being extremely literal?
Some artists took the approach to simply recreate their own response and views on issues involving modern slavery.
I think its always important for the viewer to have space to piece together the message within a work; however with socially conscious art it is also important to not be too illusive. Sometimes you need to be literal and forthright.
9:09pm
How did you handle this challenge in the creation of your piece for the auction?
Describe the work for us.
9:10pm
One work, titled “Hope Restored”, is a 30” x 40" mixed media painting.
“Light Years” was a second 15” x 20” work created on hot pressed board with ink.
Both are in the style of Pointillism. “Light Years” is achromatic while “Hope Restored” has a warm palette.
“Light Years” was a second 15” x 20” work created on hot pressed board with ink.
Both are in the style of Pointillism. “Light Years” is achromatic while “Hope Restored” has a warm palette.
In both works, I created objects to appear as though they are coming together and drawing apart at the same time.
9:16pm
Returning to the question of how art can activate or engage a new awareness of social issues: How do these works operate to raise a greater consciousness regarding modern slavery in contemporary forms?
Aisha
9:22pm
In order for the art to challenge us to reconsider social issues, content added or omitted to previous dialogues must be communicated artistically in new ways.
In the end it’s all about execution.
Furthermore, awareness needs to occur on several different levels - not just from a formal art perspective.
9:24pm
From your experience as an executive member of the AAMS can you share some of the common misconceptions people have regarding the current slavery issue?
Also, were there specific facts or information you were surprised to discover through your involvement with the AAMS?
9:27pm
The biggest surprise for me was discovering slavery is happening locally and not only abroad. Another shocking surprise was to learn there are more people enslaved now than there ever have been: 27 million people worldwide.
9:28pm
How is slavery currently present in Canada?
9:28pm
That’s a big question...
Human trafficking takes many forms in Canada.
The most common forms of modern slavery are forced labor, forced prostitution, child sex trafficking, involuntary domestic servitude and forced marriage.
9:43pm
I understand in October 2010 nineteen male Hungarian workers were found in the basement of a Hamilton house. They were forced to live in squalid conditions, fed only a single meal a day and worked manual labour for 16 – 18 hours a day.
9:44pm
That is a good example of how this issue is much closer to home than most people realize.
9:44pm
Also, the news report was most impressionable to me in how clearly it demonstrates the dramatically different varieties of human trafficking and how they greatly differ from the classic image involving women in the sex trade.
9:46pm
Absolutely.
Most child soldiers, as another example, are usually boys.
9:47pm
Yet we cannot lose sight of the countless injustices suffered daily by very young women - even here in Toronto. Many return to their native lands with their parents under the impression they are going on a regular family vacation only to discover they are scheduled to be wed against their wills in prearranged scenarios.
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Clear Window · Report
Today
8:26pm
Hi Again Aisha.
8:26pm
Hi
8:28pm
Our first conversation focused on how artistic endeavors can interact with and incorporate serious social issues.
You succinctly stated art was only one type of response and other methods are key.
8:31pm
Everything we do is in response to our environment, whether we're aware of it or not.
Approaches and change...
There are ways in which the themes surrounding real issues like human trafficking are explored in a work challenges both viewer and artist to rethink the terms of representation itself. Accordingly, it wouldn't be correct to say “socially conscious” work is merely about presenting the theme of social injustice to inform viewers.
The other artists I work alongside and I are looking at ways to have these new creative views engage viewers rather than simply feeding them information - or worse - bombarding them with information.
8:33pm
Given the sheer numbers involved in this global slavery epidemic are there times when you feel skeptical regarding the potential for real alleviation? Or are the group shows you help organize, like the upcoming Project 417 "Unveiling the Myths" exhibition at Young and Dundas Square on August 3rd and 4th, 2011 a testament to your drive to promote human trafficking awareness in creative campaigns?
Rebeca Zacharias, the organizer and coordinator for the event, and I plan on working on even more projects in the future. I'm travelling to Europe for a year and when I return we will be starting work on our new projects.
8:44pm
Can you describe how the maze-like art installation planned for the "Unveiling the Myths" exhibition is designed to operate?
8:45pm
While I do not have the exact dimensions of the installation, in essence,
the works exists as panels attached at the sides by hinges.
The entire work is going to be setup like a maze of parallel semi-circles.
The public will be able to walk into and travel through the maze to be confronted with different ‘myths’ of human trafficking representations to reconsider and update their knowledge on the issues.
8:46pm
The promotional material for the show states:
"Join us as we Unveil the Myths, by stopping traffick in the downtown Toronto."
Obviously no car or pedestrian traffic will be halted in any way - the slogan is entirely focussed on the elimination of human trafficking - right?
8:47pm
The show will not interrupt any vehicle or pedestrian traffic at all.
That would be problematic and unnecessary.
Yes, the slogan is a play on words as we are working to stop trafficking through information dissemination.
The first step is to become aware of the issues.
8:49pm
The website for the event is well designed:
8:49pm
Yes, it is.
8:50pm
Will the viewers of the public installation on site be directed to the website to gain more info in order to further help the cause?
8:51pm
Yes they will.
Rebecca and I are currently developing an exhibition catalogue for the show with important additional information.
Photo Credit: Kate Guther
8:52pm
I would like to talk to you about your own independent work as an artist.
Your approach to painting seems quite free and unrestricted.
It seems you are developing processes as satisfying ways to create art.
True?
8:57pm
Well I didn't really start off as a painter; yet, what drew me to painting was viewing the film “Pollock” while in Fashion School.
I admire his approach.
8:58pm
Why?
8:58pm
I respect the fact he did not cater to what everyone else was doing.
He was definitely a process artist among other things and I admire his open approach, working as though he had no restrictions.
I love to experiment too.
9:00pm
Is there a sense of liberation involved in experimentation?
9:00pm
I enjoy the process of experimenting and not really have a sense of where a work is going, yet I definitely don't plan on working this way forever.
Like in writing or music or other media you have to experiment to generate new forms and eventually arrive at new work.
9:04pm
Lastly, if someone wants to make an immediate difference to progress the end of modern slavery in this country and beyond, where would you suggest they start to make a contribution?
9:05pm
I would recommend they first become informed and just start the work of change from right where they are. As an artist, I use my specialized knowledge to foster greater awareness and generate funds towards the goal of eliminating modern slavery.
9:06pm
to help with local initiatives.
The Alliance Against Modern Slavery website offers a list of global organizations dedicated to improving conditions in nations around the world:
and contributions can be made directly to AAMS to help continue their excellent work:
Thanks so much Aisha.
9:06pm
Thanks!
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