Amélie Brindamour

My artistic practice takes the form of temporary interventions, participatory performances, Eat Art projects, and photography, and explores a range of issues related to natural and urban environments. Favouring the use of affordable, easily accessible materials such as pine wood, cardboard, paper, and bread, my more recent projects seek to recreate spaces within nature and the city through the design of simple props, in order to challenge our perceptions of pre-established social and spatial systems. My interest in food has led me to develop several participatory performances in public space, involving actions such as baking and sharing bread. A staple food in most societies, bread evokes values of sharing and social justice while fostering conviviality, making it a particularly evocative medium through which to convey ideas. I support artistic and educational initiatives that have a positive impact or help build communities, as well as contexts that encourage collaboration, inclusion, and experimentation.

Emmanuelle Jacques

Emmanuelle Jacques lives and works in Montreal. She completed a Bachelor’s degree in Visual Arts at Université du Québec à Montréal in 2004. Rooted in drawing and print-based practices, her work brings together writing and relational art. Her practice is presented primarily in the form of artist’s books and installations, and occasionally through other media such as performance, video, or sound art. Across her various projects, she has explored topics including cartography, urbanism, feminist, punk, and DIY movements, economics, invisible labour, self-management, care practices, plants, stars, interstices, indiscipline, and utopias. Grounded in specific or hyperlocal issues, and working in the manner of a field sociologist—while retaining the methodological freedom of an artist—she creates spaces of encounter that foster the emergence of micro-narratives from which a shared meaning is drawn. Her slow, process-based working methods are directly inherited from printmaking traditions, as well as from her experiences as a forestry and agricultural worker.

María Ezcurra

Mélissa Longpré

My artistic practice is largely inspired by the natural sciences and at times borrows their codes. Each project begins with a period of observation and the gathering of natural elements. Working in the manner of a naturalist, I collect, identify, and document my findings. Through photography, drawing, printed images, and installations, I translate my sensorial relationship to the living world. I explore the interweaving of art and science and the dialogues they generate. During my excursions, I photograph, sketch, take notes, and collect specimens (bones, insects, plants, rocks). Back in the studio, I create compositions in which each element becomes a particle of a new language. These specimens and found objects form an alphabet of the traversed territory. On my worktable, they become photographic subjects, visual writings, and installative objects. I am interested in the encounters that emerge through the sharing of knowledge.

Melza Harvey

Melza Harvey is an interdisciplinary artist born in Nova Scotia and based in Tiohtià:ke/Montréal. Coming from a background in mental health, where clay sculpture first served as a creative outlet, Melza went on to study ceramics at the Centre de céramique Bonsecours and at Concordia University, earning a Bachelor’s degree with distinction. Rooted in a feminist perspective, their contemporary sculptural practice uses abstraction to examine the social constructs shaping contemporary life, including motherhood, gender fluidity, queerness, sensuality, and anti-racist resistance. Working with high-fire clay through hand-building and wheel-throwing techniques, Melza pushes the boundaries of traditional ceramic practices to create organic, precariously balanced forms layered with colour and texture, where light circulates through and activates space. Social engagement is central to their approach, which also incorporates sound, interactivity, and community participation through collective ceramic initiatives focused on education, awareness, and social connection.

Noémie Sauvageau

Born in the forests of northern Abitibi and now based in Montréal, Noémie Sauvageau cultivates a deep love for the living in all its forms. Shaped by a diverse path spanning teaching, accompaniment, creation, and research, her practice is grounded in a sensitive understanding of our interconnections, vulnerabilities, and the subtle forces that bind us to nature. Trained in philosophy and comparative literature, she approaches thinking as an embodied, porous gesture rooted in a hypersensitive relationship to the world. Her artistic practice is first and foremost a way of inhabiting the world. Poetry, experimentation, and play become tools for interaction and understanding. She views play as a form of gentle resistance—an open space of discovery where one learns to engage in dialogue with the living rather than to constrain or dominate it. Through audio-digital projects, creative expression workshops, performances, and collaborative research, she explores modes of existence that privilege slowness, presence, resonance, and attentiveness to the discreet forces that move through us. Rooted in the sensorial, her approach invites us to relearn the world through care, listening, and relation.

Roberto Santaguida

Since completing his studies in film production at Concordia University, Roberto Santaguida’s films and videos have been shown at more than 400 international festivals, including Tampere Film Festival, CPH: DOX, Copenhagen International Documentary Film Festival, Contemporary Art Festival Sesc_Videobrasil, Flickers' Rhode Island International Film Festival, Transmediale, and Message to Man. He has also taken part in artist residencies in numerous countries, including Iran, Romania, Germany, Norway, and Australia. Roberto is the recipient of the K.M. Hunter Artist Award, the Chalmers Arts Fellowship and a fellowship from Akademie Schloss Solitude in Germany.