About the Artist

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[ leaf jer-lee-fe-ah]

 Artist. Writer. Painter. Poet.  

leaf jerlefia is a Jamaican-Canadian artist, curator and writer who explores diaspora, identity and representation within popular culture and the contemporary climate. She deconstructs semantics, hierarchical structures and Western discourse to construct a narrative and vocabulary that values the voices and experiences of marginalized people. She is currently in pursuit of a BFA in Criticism and Curatorial Practice at OCAD University, with two minors in Digital & Media Studies and Entrepreneurship & Social Innovation. jerlefia has been selected to participate in a 4-month long mentorship in Winter 2017 alongside filmmaker, Isaac Julien as part of OCADU’s Global Experience Project. She is known for her on-going collage series entitled Head in the Sky.

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Head in the Sky: A Series of Collage Characters

Work 

Black is The Colour of My True Love's Hair: Reclaiming Black Subjectivity,
2016, OCAD University, Toronto, ON

Doctor's Notes Against Intolerance, 
The Pendulum Project: Political Candy, 2016, Toronto, ON

Porridge: A Memoir, 2015
Performed at Platfrom A, Artscape Youngplace

Linus: Explorations in Cultural Hybridity, 2015
Curatorial Proposal
Head in the Sky: A Series of Collage Characters, 2013-present
Toronto, ON 

Mr. Monday, 2013
Recipient of the Brampton Short Story Award,
Brampton, ON

Curatorial

It's (Still) Privileged Art (2016), 2016
401 Richmond, Urbanspace, Aspace, Toronto, ON
A contemporary response to Carol Conde and Karl Beveridge's retrospective

The Artist-Run Newsstand x The AGO, 2016
The Art Gallery of Ontario, Toronto, ON

The Side Profile Series by Shantel Miller
Xpace Cultural Centre, Toronto, ON 
October 28 - December 3 2016

Publications

The Art is Real: Toronto Wordsmiths, 2015
Toronto, ON

Shot Gun: A Critical Publication, 2014
Toronto, ON

It's Still Privileged Art (2016)
Toronto, ON

Exhibitions

Women In Art & Music I & II, 2015
DBeastro, Toronto, ON

The Pendulum Project Presents Political Candy 
Doctor's Notes Against Intolerance, 2016

 

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mee31) What does respect in a professional exhibition space look like to you?

In a professional exhibition respect is weighed through communication. The artist and the curator should have a dialogue at all times – I want to know how my work will be hung, I want to weigh in on display. A show is a meeting place for curator and artist, they’ll have to meet in the middle at some point.

 

2) How does your art practice empower you?

Being a creator is empowering in itself: my practice allows me to fill in something that is missing—either within me or within the space that I’m in. My practice allows me to situate myself in a narrative that says I’m valuable and what I’m feeling is true and important. Above all, my practice empowers me when it empowers other people: by extending a space/work I’ve created with someone who has had similar experiences I sew the seeds for community.

3) What drew you to your particular medium?

I’m a writer before anything else; I like using semantics and writing to subvert and reject hegemony and to craft an anti-oppressive vocabulary that recognizes my experiences – and the experiences of marginalized groups. I’m a writer because this way my words speak before my face, or my skin does. There’s certain subjectivity to a white page that can be misconstrued when a name or a picture is put next to it. “leaf jerlefia” is how I fill in the blank. It’s my penname yet it’s my real name; simply leaving “leaf jerlefia” at the end of a paragraph I’ve written allows me to stand behind my writing: my words become the centre and a sort of intimacy is created between two unknown bodies. My poetry and my writing aren’t for me, there for people. While I think my face is important, I think my words are even more.

4) Do you find that your work is often labeled as political? How does that affect your process or approach to your work?

Naturally as a woman of colour my work is always labeled “political.” When a disenfranchised individual speaks about their experiences, or creates work about their experiences, their work IS ALWAYS political. By speaking about the macroagressions and microagressions they experience they’re critiquing the public affairs of their country—which makes the work political. The act of speaking of my identity in a space where it is rarely represented becomes a method of resistance. So often if my work and my writing isn’t characterized as political it is inevitably anarchical.

5) What would you change about Toronto’s emerging art scene?

While I’d say some competition could be healthy, it should also be known that the competition between artists in the Toronto ecology is derived from the desire to be marketable. It saddens me that success is often weighed by marketability and less from criticality. We should focus on building a community for sharing ideas and experiences rather than competing and conforming to make a quick dollar. We need to show up, support and be truly in solidarity with one another; success is communal growth not capital.

2 Comments

  1. Hey! I love your blog so much. That’s why I nominated you for the Liebster Blog Award. For more information, check this link out: http://raindropsandpoetry.wordpress.com/2014/06/05/liebster-blog-award/
    Congrats:)

  2. Thank you for stopping by Storyteller. – Ray

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