112 10 3176 https://digitalexhibitions.arquives.ca/files/original/cc2b48c62cbcc768763b1f888ae007ac.JPG 76b0c07e3a089a5806a1885a1b20a58a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gifts Curses from All My Grandmothers Moore Grandmother Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-007, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Creator An entity primarily responsible for making the resource Robin Marquis Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> https://digitalexhibitions.arquives.ca/files/original/ee63da5b9760ed89c73e76503f90614b.JPG 3ebb8a4d8f4adeb30c16bec51095305a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gifts Curses from All My Grandmothers Hayes Grandmother Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-006, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/68e15cfbfcf5963b7d333196d4ee8d2c.JPG cdcf8e333e323560bd83cf5900506cdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gifts Curses From All My Grandmothers Hook detail Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-010, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Type The nature or genre of the resource Installation Documentation Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive https://digitalexhibitions.arquives.ca/files/original/7eef7a7cef1d4696b921e6e25d91c07c.JPG 7b4bd64b6a5bbe6d6821af4b2fbd2a1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gifts Curses from All My Grandmothers Mouth detail Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-005, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/18d81932f0fef3b7ddb384a6e959c2d9.jpg ac014a0c67a380089966c12f97d4df72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gifts Curses Marquis Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-004, The ArQuives Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/796d914522d113a569f95a8c9a11b277.png 8eb56461d08f861574635b98b8ca0b80 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ginger: 546 Church St. Subject The topic of the resource Toronto's Queer History Description An account of the resource A photograph of Ginger, a restaurant located in the Church and Wellesley Village Creator An entity primarily responsible for making the resource Henry Ding Source A related resource from which the described resource is derived The Queer Home: Exploring Queer Architecture, Domesticity, and Gathering in Toronto Date A point or period of time associated with an event in the lifecycle of the resource 2024 Type The nature or genre of the resource Photograph collective housing gay Toronto https://digitalexhibitions.arquives.ca/files/original/c92ba2a06eada465adf9f2002755ed15.pdf 1edc4d0f56648265387ac7a7e3b2ecb0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Trans Archives - Rupert Raj fonds Description An account of the resource Digitization of Rupert Raj fonds for CLIR grant Eurasian-Canadian Rupert Raj has been a trans activist in Canada, the USA and abroad since 1971---the same year he began his 41-year gender transition in Ottawa. First a newsletter editor, peer-counsellor, researcher and educator (1978-2001), then a psychotherapist, gender consultant and professional trainer (2001-2015), and finally an author/editor (1997-present), Rupert has been engaging with queer, trans, non-binary, intersex, two-spirit adults and teens, and their loved ones for more than 50 years. The two trans service organizations he co-founded were Foundation for the Advancement of Canadian Transsexuals (FACT) (1978-1982) and Metamorphosis Medical Research Foundation (MMRF) (1983-1988), and the three counselling/consulting services were: Metamorphosis Counselling & Educational Services (1982-1983), Gender Worker/Gender Consultants (1988-1990) and RR Consulting (2001-2015). Rupert's three published books include: Trans Activism in Canada: A Reader (with Dan Irving) (2014), Of Souls & Roles, Of Sex & Gender: A Treasury of Transsexual, Transgenderist and Transvestic Verse from 1967 to 1991 (2017, 2018) and Dancing the Dialectic: True Tales of a Transgender Trailblazer (second edition) (2020). The Rupert Raj Collection in the Digital Transgender Archive (DTA) includes newsletters, magazines, books, newspaper clippings (scrapbooks), correspondence, photographs and other materials. Language A language of the resource English Rights Information about rights held in and over the resource Researchers wishing to publish materials must obtain permission in writing from The ArQuives as the physical owner. Researchers must also obtain clearance from the holder(s) of any copyrights in the materials. Note that The ArQuives can grant copyright clearance only for those materials for which we hold the copyright. It is the responsibility of the researcher to obtain copyright clearance for all other materials directly from the copyright holder(s). Subject The topic of the resource Transgender history Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Girls Will Be Boys Subject The topic of the resource Transgender history Description An account of the resource Clipping of an article about women who were historically crossdressers. Creator An entity primarily responsible for making the resource Harriet Gilbert Date A point or period of time associated with an event in the lifecycle of the resource 1988 Rights Information about rights held in and over the resource In Copyright Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource English Type The nature or genre of the resource correspondence Identifier An unambiguous reference to the resource within a given context OCR_F0021_02_024_15.pdf crossdressing FtMs gender nonconformity Rupert Raj Fonds transmasculine https://digitalexhibitions.arquives.ca/files/original/b6115ffc2e5e7dc297c76879d4835cd7.jpg 1626777c943d04773882d76ea67d827b https://digitalexhibitions.arquives.ca/files/original/ae0a4d55754a823b8c9fe874322f2f37.jpg 8e264cd48d9fd4b18a29676806957e53 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GLAUT: Gays and Lesbians at the University of Toronto Subject The topic of the resource universities students' groups gay movement lesbian movement Description An account of the resource White t-shirt with pink triangle and green tree, text in blue on front and back. Publisher An entity responsible for making the resource available GLAUT Rights Information about rights held in and over the resource CLGA does not hold copyright Format The file format, physical medium, or dimensions of the resource t-shirt Language A language of the resource English Type The nature or genre of the resource t-shirt https://digitalexhibitions.arquives.ca/files/original/490adfa3a1a8b278ebf12097f2b12c83.jpg 19b6c986ddef5eee08d3c23171823df5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glen Murray (1957- ) Description An account of the resource "Cities are the gravity of change. Their intense pull creates a critical mass of human imagination and action. Cities are global and local. Queer folk find both intimacy and anonymity in urban space. Gay ghetto's provide sex, love, family, identity and a place to be seen. Cities offer us crowds, singularity, invisibility, diversity and places to hide. Cities become liberty. About two decades ago I was twenty. I never heard of anyone who was out. No one I knew was proud. Bars were raided, people arrested. "Homosexuals" were "admitted", "confessed" or "suspected." Being in bars involved the fear and risk of being caught. Being caught meant job loss and family rejection. Queers were bashed. Life was lived in fractured pieces. Finding sex and love was an art form. My father said I couldn't be gay because I played football. AIDS was not a word. AIDS became epidemic. People came out, people died, more people came out. Today I remember. I live a whole out life. I am part of the first generation who can live out loud. I keep part of my lost brothers alive in my heart. I am not afraid anymore." (Glen Murray, Mayor of Winnipeg, 2000 Induction Statement) Politicien municipal ouvertement gai, élu maire de Winnipeg. Creator An entity primarily responsible for making the resource Craig Koshyk Publisher An entity responsible for making the resource available Canadian Lesbian and Gay Archives Date A point or period of time associated with an event in the lifecycle of the resource 2000 Format The file format, physical medium, or dimensions of the resource Medium: black and white photographic print, platinum/palladium-toned Dimensions: 18.5 x 24 cm (W x H) Identifier An unambiguous reference to the resource within a given context 088 https://digitalexhibitions.arquives.ca/files/original/4b6c529ee72104678c8c56b1d63ef164.jpg 996c68b5549136b264be8f6a198efd3c https://digitalexhibitions.arquives.ca/files/original/372816044d085f00e5a04a20c60f3d44.jpg 25dc59433ae07d0f19b2f1418b4abb3c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource GLOBE: Gay and Lesbian Organization of Bell Employees Subject The topic of the resource gay movement lesbian movement employees employment discrimination broadcasting networks Description An account of the resource White t-shirt with globe on pink triangle. Rights Information about rights held in and over the resource CLGA does not hold copyright Format The file format, physical medium, or dimensions of the resource t-shirt Language A language of the resource English Type The nature or genre of the resource t-shirt