CAMILLE ROJAS (b. 1993 Toronto; lives and works in Toronto) is a multidisciplinary artist & artist-researcher 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




With support by:
Ontario Arts Council

Thank you:
Ivana Dizdar