Slow Living Cookbook was created by Evelyn Austin & Meech Boakye. Additional written contributions are provided lovingly by Collin Alexander and an upcoming sound performance will feature the work of Ashley Ona Bott. (Please find artist bios below). The project was published with the support of Xpace Cultural Centre. We hope you enjoy your visit.

Xpace Cultural Centre is a not-for-profit artist-run centre dedicated to providing emerging and student artists, designers, curators and writers with opportunities to showcase their work in a professional setting.

We approach our programming as a form of world-building: providing exhibitions, events, panels and workshops that respond to the direct needs and interests of our communities and membership. Expanding notions of theory and aesthetics, we seek to hold space for thought-provoking and experimental collaborations.

Xpace Cultural Centre is committed to maintaining an anti-oppressive, queer positive environment, prioritizing marginalized, racialized, Black and Indigenous folks.

Xpace is supported by the OCAD Student Union, and our programming is open to students, as well as emerging practitioners of any educational background. Xpace is not affiliated with OCAD University or the OCAD University gallery system.

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Collin Alexander is a two spirit member of Natoaganeg First Nation with both Mi’kmaw and settler ancestry. Raised off-reserve, next to the highest tides in the world on unceded Peskotomuhkati territory, they have become accustomed to flux and changes in currents - often looking to the land as an example to move forward. Now living between Toronto and Bocabec New Brunswick, Alexander attends the University of Toronto studying history, anthropology and visual studies. Alexander seeks to use etuaptmumk ‘two eyed seeing’ to bring together holistic Mi’kmaq knowledge with western ways of knowing and create using both these eyes together, for the benefit of all.

Ashley Ona Bott is a radical noise girl, armchair gender theorist, and coder. She toured as a DIY musician for over ten years before landing in the Pacific Northwest, where the state of Oregon is currently paying for her gender transition. Ashley makes experimental long-form works about privacy and transition.

Evelyn Austin’s art practice explores the politics of extractivism, problems of infinite (economic and material) growth, expansionism and ecological. Influenced by her work as a fossil fuel divestment organizer, criticisms of innovation absolutes, romanticized western “progress”, and cleantech solutions to consequences of growth, are embedded in her art practice. Much of her work is rooted in criticisms of digital and tech infrastructures as “final frontiers”of capitalist expansion. She has recently begun to pose questions about Arcadia and all of its consequences, and the fixation on “unobtainable utopias” that permeates western literature. Austin frequently draws on literary tropes, particularly tropes of the post-modern genre, theater of the absurd, and sci-fi. Wordplay and poetics are pivotal as her often work hinges on the collapse between the obvious and the nonsensical, and the analogies that exist between them.

Meech Boakye (B.A. Visual Studies, University of Toronto) is a Canadian artist based in Portland, Oregon. Their practice is rooted in relationships with floral, fungal and microbial kin as armatures for learning how to be in community. Material research functions as a formal conduit for remediation from extractive landscapes—works are suspended in gelatin biopolymers; fed, aged, shared; digested in stomachs or piles of hot compost; and collaboratively written with friends and neural-network artificial-intelligence. Boakye’s practice is produced (and reproduced) in a garden of trans-cyborgian thought; assemblages of preservation, maintenance (care) and decomposition, shape-shifting within the muck.