CAMILLE ROJAS (b. 1993 Toronto; lives and works in Toronto) is a multidisciplinary artist working with film, photography and contemporary dance.
Her work uses movement as the primary vehicle to dissect ideas and emotions. Recent interests include art economics, stock market drama, self-care and computer vision science.
Camille currently sits on the Board of Directors at Gallery TPW where she serves on the Fundraising committee.
→ info@camillerojas.com
→ @camiillerojas (ig)
EDUCATION
2017 BFA in Photography Studies | Toronto Metropolitan University School of Image Arts
SOLO EXHIBITIONS
2018 Sothebae’s, Erin Stump Projects, Toronto
2017 System of a Gesture, Ryerson Image Centre, Toronto
2016 The Whistler, Curated by Heather Rigg, Alliance Française Gallery, Toronto (CONTACT Photography Festival)
SELECT GROUP EXHIBITIONS + SCREENINGS
2019 An Archive, But Not An Atlas, Curated by Liz Ikiriko, Critical Distance Centre for Curators, Toronto (CONTACT Photography Festival)
2019 Poems for Impending Doom, Curated by Lucy Pauker & Alessia Dowhaniuk, Centre for Art Tapes, Halifax
ONLINE PROGRAMMING
2020 Moving Ether Way, Curated by Holly Chang and Karina Iskandarsjah, Trinity Square Video, Toronto
2020 MOVEMENTS, in collaboration with Sofia Mesa, Gallery TPW, Toronto
ARTIST RESIDENCIES
2022 Pilot Episodes, Toronto Dance Theatre
2017 Art Gallery of Ontario, Sub Residency with Emilia-Amalia working group
PERFORMANCES (INDICATES SOLO)*
2022 c(o)rporeal dissssonance, DAZIBAO, Montréal *
2020 Les Gestes Flottent, S’empilent et Éclatent, Curated by Maude Johnson & Florence-Agathe Dubé-Moreau, Regart Centre D'artistes en Art Actuel, Lévis*
2020 Performance in response to the exhibition Handle With Care by Wedge Curatorial Projects, Curated by Emilie Croning & Maria Kanellopoulos, Gladstone Hotel, Toronto
2019 Algorithm, Ryerson Artspace at 401 Richmond (Nuit Blanche), Toronto*
2019 System of a Gesture, Critical Distance Centre for Curators, Toronto
AWARDS + GRANTS
2021 Career Catalyst, Ontario Arts Council
2021 Research and Creation, Canada Council for the Arts
2020 Arts Response Initiative, Ontario Arts Council
2019 Visual Artist Creation, Ontario Arts Council
2019 Visual Artist Creation, Toronto Arts Council
2018 Exhibition Assistance, Ontario Arts Council
2015-16 SF Award, Ryerson University School of Image Arts
FUNDRAISERS
2020 2020 In-Residence, Online Artist Benefit, led by Kevin Boothe & Robert Wainstein
2015-21 Photorama, Gallery TPW, Toronto
2017-20 Salon 44, Gallery 44, Toronto
PUBLICATIONS
2020 CBC Arts: COVID Residency, by Lise Hosein
2020 Blackflash Magazine: “Online Exhibitions and the Long Game of History”, by sophia bartholomew
2019 Canadian Art: Review for Algorithm (performance), by Dallas Fellini
2019 Esse Magazine: Review for System of a Gesture (performance), by Heather Rigg
2018 Public Parking, “Body in the Plural: In Conversation with Camille Rojas”, by Luther Konadu
PRESENTATIONS
2021 The Other NFT Report, Trinity Square Video, Online
2018 Artist talk to thesis students, Ryerson University School of Image Arts, Toronto
2018 Artist talk, in response to Tanya Lukin Linklater’s “Slay All Day”, mama projects, Toronto
2018 Lecture, “The Art of Public Speaking”, Presented by Trampoline Hall, Curated by Aley Waterman, Toronto
2017 Artist talk to thesis students, Ryerson University School of Image Arts, Toronto
PROFESSIONAL EXPERIENCE
2022-Present Project Manager, Artist-Run Blockchain, Trinity Square Video
2022-Present Board Member, Gallery TPW
2020-2022 Co-Artistic Director: The Toronto Dance Community Love-In
2020-2021 Jury Member, Canada Council for the Arts
Camille Rojas’ Sothebae’s takes the theatrics of an art auction as its theme. The work examines Rojas’ discomfort with the role of the auction as performance, and its use of handlers as props — people positioned next to artworks, often “for scale.” Through a series of ten photographs, Sothebae’s recreates the scenes of an auction, using parody to place emphasis on the awkward and absurd nature of these conventions. Rojas’ subjects do not pose next to artworks, rather only empty ornamental frames, their limbs contorted to be entwined within it. The habitual, static poses of the handler are taken to an inordinate and humorous level to assess the imbalance of power, labour relations, and class housed in the performance of the art auction.
Sothebae’s
C-Prints
16” x 20”
2018
C-Prints
16” x 20”
2018
With support by:
Ontario Arts Council
Thank you:
Ivana Dizdar
Ontario Arts Council
Thank you:
Ivana Dizdar