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During the Remix Residency, Sian created a textile art piece titled Remember Me. Inspired by Kathleen, Sian’s great-grandmother's sister, this piece centers her memory while remaining speculative through cyanotypes and a dreamy blue colour palette. Using scrap fabrics and her grandmother’s sewing machine, this piece is grounded in family history while honouring the Black women who have come before. Remember Me are the words of Pat Parker in the May 1989 issue of off our backs, a feminist news journal found in the Queen’s University Archives. Pat was speaking to the discrimination that older Black lesbians face and the importance of community and remembrance when facing hardships. Remember Me is a familial archive and a call to remember and honour the ancestors.

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During The Remix Residency, Kizzy created We Were Before We Are. This piece explores contemporary experiences alongside the past. Inspired by The Remix Residency itself, Kizzy’s work reflects what she learned about archives as tools of resistance and the everyday conversations she shared with the other talented residency artists. The work remixes drawn photographs from our Toronto trip, our collaborative poem and drawings of past Queen’s University students from the archives. Using multi-media, Kizzy explores how archiving can capture emotion and experience, revealing connections between those who came before us and who we are today. This piece demonstrates that while we are unique in our experiences, we’re not all that different from those of the past who were thinking, discussing and challenging issues that we continue to face today.

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During the Remix Residency, Shanique’s project A Queer Candid Collection branches from her ongoing archive Intersection, which explores identity, culture, movement, and belonging through intimate portraiture and environmental storytelling. Where Intersection has centered the lives of others, this chapter turns inward; it’s an archive of her own, exploring queer and QTBIPOC presence in Kingston through movement, color, cosmetics, and textile. The collection will continue to unfold through podcast and video components still to come, extending the archive into voice and motion. The work remixes photograph, family history, and oral storytelling into new narratives of QTBIPOC existence in Katarokwi, tracing threads between diasporic folklore and speculative futures still being imagined.

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During The Remix Residency, Noel remixed the archives of their documented and undocumented experiences as a Black-queer student in Kingston, Ontario, creating the Portrait of Noel. So often, archives strip subjects of their context and prevent folks from having the autonomy to tell their own story. Remixing her own archives, Noel sought to ‘frame’ [situate] their iconic image within its intended affective context, creating a ‘living archive’. By counter-archiving this way, Noel combats the erasure faced by Black Queer Femme bodies within archives and re-asserts their deservingness to be remembered on their own terms, leaving behind a trail of breadcrumbs for future Black and/or queer students to find belonging.

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During The Remix Residency, ZARI created Roots of the Rhythm, which explores the Black and queer histories embedded within house and techno through DJing and a video collage of archival imagery, music, and cultural history. Emerging from Black and queer communities, these genres transformed dancefloors into spaces of defiant liberation, spiritual escape, and communal healing during immense loss. For communities alienated by mainstream religious spaces, the dancefloor became a form of “Saturday night culture”, a modern gospel. Through sound and moving image, ZARI seeks to reconnect contemporary audiences with these histories and honour the dancefloor as a space of resistance, belonging, and collective healing.

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During the Remix Residency, Jarena began creating I Am Jarena Lee, a 6 ft. × 4 ft. mixed-media portrait blending her own image with that of her namesake, Jarena Lee—the 19th-century evangelist and first Black woman to publish an autobiography in the United States. Using found materials, embroidery, braiding hair, photographs, and family fabrics, the work connects ancestral history with personal identity, imagining liberated futures rooted in lineage.

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During the Remix Residency, Seymour developed Black Whispers, an augmented reality (AR) installation that draws on Kingston’s Black history. Using the Stones Kingston archives, Seymour engaged in a practice of Afro-fabulation and futurism, imagining creative monologues from archival silences—the ghost notes left in historical absences. This project illuminates what was left unsaid, giving voice to the fragments that linger in the margins of history.

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During the Remix Residency, Sarah explored how queer approaches can reshape archival methodology, particularly in relation to natural materials. Her focus was on questioning conventional archival practices that often emphasize linearity, categorization, and permanence, instead considering how queering the archive can open up alternative ways of collecting, preserving, and interpreting materials. She also researched the symbolism of crows within colonial history, where they are often associated with negativity or marginality, examining how these associations might be reinterpreted through a queer framework. In this way, Sarah used the figure of the crow as a lens for thinking about resilience, community, and non-normative ways of existing within archival and historical narratives. Overall, her residency considered how queering archival practices can create more flexible, inclusive, and critical approaches to remembering and recording both human and more-than-human histories.

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During the Remix Residency, Harvey began creating FrameWerQ for the (Q)we’re, investigating the expansive and multifaceted nature of queerness by revisiting the original 1978 Pride flag and exploring its colours and meanings. Their practice highlights queer mythos, challenges societal narratives, and encourages viewers to consider queer futures, histories, and identities beyond conventional frameworks, acknowledging the "odd" and "other" aspects of self and community.

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During the Remix Residency, Gladys began creating Asian Dream Girl, an experimental video that collages archival materials with mass media imagery to interrogate how queer Asian women have been stereotyped, erased, and othered. Drawing inspiration from TT Takemoto’s Looking for Jiro, the project engages kinship through archival traces while critically engaging with Barbara Creed’s concept of the “Monstrous-Feminine.” Gladys investigates how monstrosity and perversion, once used to regulate desire and power, might be reclaimed as strategies for subversion, survival, and queer liberation.