Heidi McKenzie is a ceramic and installation artist based in Toronto, Canada. Heidi completed her MFA at OCADU in 2014. She is informed by her mixed-race Indo-Trinidadian/Irish-American heritage. Heidi uses ceramics, photography, digital media, and archival image to forefront themes of ancestry, race, migration and colonization, as well as themes of body and healing. Heidi has exhibited internationally in Europe, Scandinavia, Asia, Oceana and the US. The recipient of numerous grants, Heidi has created in Ireland, Denmark, Hungary, Australia, China and Indonesia. Her work has been collected by the ROM, Global Affairs Canada, the Canadian Clay and Glass Gallery, and Surrey Art Museum. Heidi’s installation, Division, was invited to tour in the US alongside works of Ai Wei Wei, Theaster Gates, and Magdolene Odundo (Underneath Everything). Her solo exhibition at the Gardiner Museum, Reclaimed: Indo-Caribbean HerStories (spring 2023) explores the little-known histories of Indo-Caribbean indentureship through a feminist lens. Heidi was invited to the juried feature exhibition, Common Ground, at the Indian Ceramics Triennale in Delhi, 2024, to present Girmitya HerStories – bringing the Indo-Caribbean diaspora “home.”
My studio practice engages issues of identity and belonging. Through abstract portraiture, I capture self, an individual, or a culture. I began incorporating photographic imagery on clay in 2014 to viscerally depict the fragmentation of body, and have moved on to explore image as archive. This body of work speaks to my personal histories through photographic imagery coupled with abstract representation. My work is informed by the everyday lived experience of my mixed heritage. In the 19thcentury, my ancestors traveled from Ireland to Canada and India to the Caribbean in hopes of a better life. In the 1950s, my parents married at a time when interracial marriages were illegal in several American states and extremely uncommon in both Canada and the U.S. I grew up on the East coast of Canada, one of a handful of brown faces in a sea of white, at the corners of “Canadianness.” Holding space and making place for people of color matters. Telling my family’s stories matter.
— Heidi McKenzie, 2022
A proposal to redefine design in a way that not only challenges the field's dominant paradigms but also changes the practice of design itself. In Critical Fabulations, Daniela Rosner proposes redefining design as investigative and activist, personal and culturally situated, responsive and responsible. Challenging the field's dominant paradigms and reinterpreting its history, Rosner wants to change the way we historicize the practice, reworking it from the inside. Focusing on the development of computational systems, she takes on powerful narratives of innovation and technology shaped by the professional expertise that has become integral to the field's mounting status within the new industrial economy. To do so, she intervenes in legacies of design, expanding what is considered "design" to include long-silenced narratives of practice, and enhancing existing design methodologies based on these rediscovered inheritances. Drawing on discourses of feminist technoscience, she examines craftwork's contributions to computing innovation--how craftwork becomes hardware manufacturing, and how hardware manufacturing becomes craftwork. She reclaims, for example, NASA's "Little Old Ladies," the women who built information storage for the Apollo missions by weaving wires through magnetized metal rings. Mixing history, theory, personal experience, and case studies, Rosner reweaves fibers of technoscience by slowly reworking the methods and margins of design. She suggests critical fabulations as ways of telling stories that awaken alternative histories, and offers a set of techniques and orientations for fabulating its future. Critical Fabulations shows how design's hidden inheritances open different possibilities for practice.
This book is the first collection on Indo-Caribbean women's writing and the first work to offer a sustained analysis of the literature from a range of theoretical and critical perspectives, such as ecocriticism, feminist, queer, post-colonial and Caribbean cultural theories. The essays not only lay the framework of an emerging and growing field, but also critically situate internationally acclaimed writers such as Shani Mootoo, Lakshmi Persaud and Ramabai Espinet within this emerging tradition. Indo-Caribbean women writers provide a fresh new perspective in Caribbean literature, be it in their unique representations of plantation history, anti-colonial movements, diasporic identities, feminisms, ethnicity and race, or contemporary Caribbean societies and culture. The book offers a theoretical reading of the poetics, politics and cultural traditions that inform Indo-Caribbean women's writing, arguing that while women writers work with and through postcolonial and Caribbean cultural theories, they also respond to a distinctive set of influences and realities specific to their positioning within the Indo-Caribbean community and the wider national, regional and global imaginary. Contributors visit the overlap between national and transnational engagements in Indo-Caribbean women's literature, considering the writers' response to local or nationally specific contexts, and the writers' response to the diasporic and transnational modalities of Caribbean and Indo-Caribbean communities.
This book looks at women writers from the South Asian region who negotiate Home from the vantage point of in-between space-defined through the mythical concept of Trishanku and the frameworks of migration, historical consciousness, colonialism, interracial experiences, fragmented memories, nostalgia, and hyphenated identities.
Indo-Caribbean women writers are virtually invisible in the literary landscape because of cultural and social inhibitions and literary chauvinism. The book explores how cultural traditions and female modes of opposition to patriarchal control were transplanted from India and rearticulated in the Indo-Caribbean diaspora to determine whether the idea of "cultural continuity", is in fact a postcolonial reality or a fictionalized myth. The Indian women who braved the treacherous crossing of the Atlantic, of the kala pani, to Trinidad and Guyana provided courage, determination, self-reliance and sexual independence to their literary granddaughters who in turn used the kala pani as the necessary language and frame of reference to position Indo-Caribbean female subjectivity with equating
Indo-Caribbean Indenture investigates the relatively little-studied but growing field of the experiences of East Indians in the Caribbean from their arrival in 1838 to the end of indentureship in 1920. It places the indenture period into a larger socio-economic framework of imperialism, the post-slavery attempt to solve the labour shortage and the gender-relations which overarched the whole transaction in human bodies. By utilizing a new analytical perspective offered by current writers on the subject of the subaltern, the work departs from the usual historical approach and offers a fresh interpretation. The work will be of particular interest to historians, sociologists and social scientists who focus on the Caribbean, migration, ethnicity, gender studies, peasant resistance, labour history and cultural continuity and change.
Pirbhai uses the critical paradigm of 'indenture history' to examine the local literary and cultural histories that have influenced and shaped the development of novel-length fiction by writers of the South Asian diaspora in national contexts as diverse as Mauritius, South Africa, Guyana, and Fiji.