she/they

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

he/him

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

she/they

During the Remix Residency at, 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, and 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, and examined 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 non-human histories.

he/they

During the Remix Residency, Harvey began creating FrameWerQ for the (Q)we’re, where they investigated the expansive and multifaceted nature of queerness, revisiting the original 1978 Pride flag to explore its colours and meanings. His 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.

she/they

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.