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I especially worry about the ways Canadians can be glib about our supposed difference from the US in our acceptance of diversity.
Vivek Shraya
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My interest in language is steadfast, but I think each project and its accompanying intentions dictate how language must be used.
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When I do book readings, I always incorporate music or singing.
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If anything, I have witnessed the ways my art travels, or is rendered more accessible, when sanctioned by or connected to white artists.
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Now is not the time for Canadians to be sanctimonious. It is time for us to be prudent and active.
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I have been and continue to be committed to art as a tool to ignite, comfort, and discomfort.
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As a general rule, I tend to collaborate with artists whose work I admire.
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Art can sometimes be separate from the artist.
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I feel like I have had to catch up to the art I've made, and learn from the protagonists I have written, especially in relation to gender.
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I worry about what Trump will inspire in Canada, especially given incidents that have already occurred here since the election.
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I tend to focus less on genre as a starting point and more on idea or intention and let the idea dictate genre.
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I have always considered the aesthetic of a project, including press photos, as a means to further the message of the art itself.
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In my thirties, I have felt a greater urgency to make art that highlights what it feels like to be racialized, likely due to living in a country that obscures our racism with the idea of multiculturalism.
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As a person of color, I know race can't be stripped from admiration or preference.
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I am more likely to get paid for my art if it's presented alongside a white artist, so the questions around value and agency arise: What choices should I make, or do I have to make, if I want to be compensated for my work? Why isn't my art valued on its own?
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I always work with text orally in the writing process, saying passages aloud to measure flow.
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My art career often feels less like an art career and more like a career in educating, usually by using my body.
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I continue to explore poetry.
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I didn't want to give the white reader an opportunity to think of racism as imaginary - a sentiment that is already a central barrier in addressing the problem.
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I have dedicated a significant portion of my time and artistry to making art that addresses various forms of oppression, including white supremacy, misogyny, and biphobia.
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Children are receptive to talking about gender creativity, confirming the importance of the book as a means to instigate this dialogue at an early age.
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