Afro Pick (2021), from the series “The Animal Seem to Be Moving,” on view in the group exhibition There are no parts from May 9 to June 26, 2022. Also featuring the work of Nydia Blas, Widline Cadet, and Jasmine Clark, this exhibition is part of Crossings: Itineraries of Encounter, the 2021–22 Lightbox Program at The Blackwood Gallery, University of Toronto, Mississauga.
Relevant Permission A Conversation between Michèle Pearson Clarke and Lou Sheppard, published in “Grief,” the Spring 2022 issue of C Magazine
In conversation with Vanessa Kwan, artist, curator and Program Director at grunt gallery; Cait McKinney, Assistant Professor of Communication at Simon Fraser University, and Liss Platt, media artist and Professor of Multimedia at McMaster University on March 8 for Bad Singers: A Conversation on Michèle Pearson Clarke’s Quantum Choir.
Muscle Memory, a solo exhibition on view at the Art Gallery of Hamilton, opening on February 12 and running until May 23. This exhibition will be my largest installation to date, and comprises both a new four-channel video and sound work, Quantum Choir, 2022 and a selection of photographs from the ongoing series, The Animal Seems to Be Moving, 2018-present.
“Making a statement about queer female masculinity by raising voices — and wrinkles,” Muscle Memory reviewed by Sue Carter in The Toronto Star.
In conversation with Canisia Lubrin, Péjú Oshin, and Pamela Woolford on January 22 for Deconstruction of Being, a symposium presented by the University of Manitoba School of Art Gallery and Patterns Collective.
Suck Teeth Compositions (After Rashaad Newsome) on view in the exhibition The Politics of Sound at Two Rivers Gallery in Prince George, BC, opening January 20 and running until April 10, 2022.