Jai Sallay-Carrington is a Canadian sculptural ceramic artist originally from Vancouver BC and spent ten years living in Montreal QC. Jai is a queer and non-binary artist who’s work is heavily influenced by this aspect of their life. In 2014 they graduated from Concordia University with a BFA in ceramics. Jai has attended many artist residencies, traveling around Canada, USA and Europe. Residencies such as C.R.E.T.A Rome, Torpedo Factory Art Centre, and Tolne Gjæstgivergaard. They have been a part of many group exhibitions, at galleries such as the Canadian Clay and Glass Gallery, Henry Art Gallery, and the Clay Center of New Orleans. Jai has had several solo exhibitions in recent years, such as NuQueer Power at Fatale Art Gallery, Co(R)vid Calluses at Galerie ERGA, as well as Adapting, at Maison de la Culture Côte-des-Neiges. They have been featured in publications such as CBC Exhibitionists, New York’s ArtTour International Magazine, and Ceramique: 90 Artistes Contemporarian. Jai has been awarded grants from Canada Council of the Arts, SODEC and was a finalist for the Winifred Shantz Award for 2020 and 2021. Jai just earned their master’s degree at the University of Washington, receiving the De Cillia Graduating with Excellence award.
Jai Sallay-Carrington is a figurative ceramic sculptor creating works about human identities, behaviour and emotions using anthropomorphic creatures. Reflecting on their queer and non-binary gender identity, Jai creates sculptures which challenge and analyze the dominant heteronormative and cisgendered society. They question the role that gender, sexuality and desire have in forming an individual’s character and placement within their culture. Jai’s sculptures speak to a feeling of otherness, but not necessarily of physical traits that can be immediately viewed by the public. These identities exist within, they are either shared or kept a secret. The zoomorphic qualities of their sculptures shed light on those human characteristics hidden from the naked eye. As each animal comes with its own unique qualities, as well as the myths and stories associated with them, when anthropomorphized, their addition to the human form creates a deeper understanding of that individual’s personality and experiences.
A film is a mosaic forged by time. Adamska Elizaveta Rakhilkina’s films exist in the chasm between two empires—the United States and Russia, and their colonial pasts. Tomorrow Was War is a short film that envisions a dystopian police state of Russia to-be while painting a disquieting portrait of a stealth transgender man, Shura, who is drowning in the environment of total surveillance, paranoia and reactive conformity.