Proof 28

Lan Florence Yee, PROOF–Chinatown Anti-Displacement Garden, 37 x 50 inch, hand-embroidered print on cotton voile, 2020

Gallery 44 Centre for Contemporary Photography

Proof 28
Mariana Muñoz Gomez, Karice Mitchell, Lan Florence Yee

Exhibition Dates: June 3 – July 2, 2022
Artist Walk-Through: June 3, 2022 5:00 PM

Proof is Gallery 44’s annual group exhibition of work by emerging Canadian artists, reflecting a range of current concerns and practices in contemporary photography and lens-based media. Proof is often one of the first exhibitions in a professional context for an emerging artist. Past exhibitions have featured work by Kotama Bouabane, Leila Fatemi, Isabelle Hayeur, Anique Jordan, Laurie Kang, Germaine Koh, Luther Konadu, Meryl McMaster, Elise Rasmussen and Althea Thauberger.

“There is an element of comfort in finishing a project. When it is done (even though it is true that an artwork or project could conceivably go on forever) there is ease. We can put our instruments down, breathe a sigh of relief and turn away from the thing that had been our world. The process of finishing the work releases it from our control. We cannot own it anymore. So what then is a proof? It is an intermediate space, a rough draft: one where the project is made public a little bit, the water is tested, but then it comes back home to the artist—we get to work on it, change it, keep it a little longer. What is a proof if not a place of vulnerability and power?

The word proof shapeshifts through different contexts as well; a noun, proof is evidence: a document, object, or fact. In the context of printmaking, a proof is the trial impression, a test pull. An adjective, proof describes something that withstands damage, is resistant to it. A verb, it makes something resistant: you can proof fabric to make it hydrophobic. These many meanings are entangled together in this show—evidencing process, resisting entrenched power structures and recording histories over aeons. The artists participating in Proof 28 ask us to confirm ourselves as engaged viewers in relationship with their projects.” – excerpt from The Work Comes Back Home

This year’s Proof exhibition includes The Work Comes Back Home, an essay by Fehn Foss. Download the exhibition catalogue here.

Join us at Gallery 44 on June 3 at 5:00 PM for an in person artist walk-through of Proof 28, artists will be in attendance.

Karice Mitchell, Untitled III, Archival Inkjet Print Mounted on Plexiglass, 2022

Mariana Muñoz Gomez is an artist, writer, and curator. Born in Mexico and immigrating to Canada at a young age, they are a settler of colour based in Winnipeg, Manitoba (Treaty 1 Territory), which includes unceded lands of Dene and Dakota Peoples; ancestral territories of Anishinaabe, Ininiwak, and Anishininiwak Peoples; and the homeland of the Métis Nation. Mariana’s lens-based practice involves a variety of media including text works, screen prints, video art, and photography. Their interests include language, identity, diaspora, and displacement, and these topics’ intersections with coloniality, temporality, relation, and place.

Karice Mitchell (b. 1996, Toronto, Canada) is a photo-based installation artist whose practice uses found imagery and digital manipulation to engage with issues relating to the representation of the Black female body in pornography and popular culture. Her work seeks to re-contextualize pre-existing images to reimagine the possibilities for Black womanhood and sexuality detached from the white gaze and patriarchy. She received her BFA at York University in 2019 and her MFA at the University of Waterloo in June 2021. She currently resides on the unceded territory of the xʷməθkʷəy̓əm (Musqueam) people where she is a full-time lecturer at the University of British Columbia Vancouver campus.

Lan Florence Yee is a visual artist and serial collaborator based in Tkaronto/Toronto and Tiohtià:ke/Mooniyang/Montreal. They collect text in underappreciated places and ferment it until it is too suspicious to ignore. Florence’s work has been exhibited at the Museum of Contemporary Art (2021), the Art Gallery of Ontario (2020), the Textile Museum of Canada (2020), and the Gardiner Museum (2019), and many others. Along with Arezu Salamzadeh, they co-founded the Chinatown Biennial in 2020. They obtained a BFA from Concordia University and an MFA from OCAD U.

Cécilia Bracmort, Untitled III, 2020

Peau Nature Morte (Tropical Market)
Cécilia Bracmort

Exhibition Dates: June 3 – July 2, 2022

Peau Nature Morte (Tropical Market) is a series of works that is testimony to Cécilia Bracmort’s experience of confinement, a representation of the artist’s strength, resistance and resilience in the face of the pandemic. This series evokes the weight of the concept of the ‘mask’ that society forces Bracmort to wear because of the “exotic” character that her identity triggers in the Western imagination, inherited from colonial times. Bracmort’s series focuses on tropical fruits, pineapple and banana in particular because those fruits are related to the perception of her person in the colonial world, bringing to mind the exotic, belonging to tropical countries, travel and importation.

An accompanying conversation between Cécilia Bracmort and Josephine Denis, will launch on

Cécilia Bracmort is a French born, Montreal based curator and artist. Her Caribbean heritage (from Martinique and Guadeloupe) influences her artistic and curatorial practices, that are focused on the notions of identity – individual or collective, memory and history.

Joséphine Denis was born in Haiti, raised between Port-au-Prince and New York, and currently resides in Tiohtià:ke/Montreal. She is a curator and writer whose practice centres on creation and narration in BIPOC spaces.

Gallery 44 Centre for Contemporary Photography is a charitable, non-profit, artist-run centre committed to supporting multi-faceted approaches to photography and lens-based media. Founded in 1979 to establish a supportive environment for the development of artistic practice, Gallery 44’s mandate is to provide a context for meaningful reflection and dialogue on contemporary photography.

Gallery 44 is committed to programs that reflect the continuously changing definition of photography by presenting a wide range of practices that engage timely and critical explorations of the medium. Through exhibitions, public engagement, education programs and production facilities our objective is to explore the artistic, cultural, historic, social and political implications of the image in our ever-expanding visual world.

Gallery 44 Centre for Contemporary Photography
401 Richmond Street West, Suite 120
Toronto, Ontario M5V 3A8
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Maegan Broadhurst
Head of Communications and Development