Claire Sykes

University of Rochester, Visual & Cultural Studies, Alumna

York University, Faculty of Fine Arts, Alumna

Western University Canada, Visual Arts, Alumna

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I am a partner and co-director of CIRCUIT GALLERY, a commercial art gallery based in Toronto, Canada.

Circuit Gallery specializes in contemporary photography

Find work by: Robert Bean, Donald Weber, Alejandro Cartagena, Paulo Catrica, Akihiko Miyoshi, Shelagh Keeley, Eamon Mac Mahon, Susana Reisman, Nancy Friedland, Naomi Harris, amongst other established and emerging artists and photographers.

Visit us online:
http://www.circuitgallery.com

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I am also work for the CAPE FAREWELL Foundation as Curator and Program Director.

Cape Farewell Foundation is a North American charity that promotes a cultural response to climate change.

Cape Farewell brings artists, scientists, educators and communicators together to stimulate the production of art
informed by climate science. We provide opportunities for artists to understand and become invested in climate change with the intention they will then create work that moves the public to see climate-related issues differently, to experience them differently, and ultimately to behave differently towards them.

learn more: http://www.capefarewell.com

My recent project was CARBON 14: CLIMATE IS CULTURE, a two-year project that began with an intensive workshop on the shores of Lake Ontario in the fall of 2011 and continued with a wide range of programming activities, including a major exhibition at the Royal Ontario Museum's (ROM) Centre for Contemporary Culture, a performing arts festival with The Theatre Centre (Toronto), and a rich series of public programs and events.

Learn more: http://www.capefarewellfoundation.com/carbon14/
Phone: 647-477-2487
Address: Toronto, Canada

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Mining for Gold

Afterimage: The Journal of Media Arts and Cultural Criticism

First, I would like to bring forth and affirm the essence of our inspiration, faith, and motivati... more First, I would like to bring forth and affirm the essence of our inspiration, faith, and motivation in going forth into homelessness in this Teaching and Discipline. "Lord, if women were to go forth from the home life into homelessness in the Tathagata's Dhamma-Vinaya, would they be able to realize the fruit of stream-entry, once-returning, non-returning, or arahantship?" "Yes, Ananda, they would.. . ." (Culavagga) When questioned as to the fundamentals of his Teaching and his Sasana, the Blessed One is said to have answered that he taught only one thing: suffering and the end of suffering, for men and women, human and nonhuman beings. The teaching, divided into path and fruits, has but one taste, the taste of freedom, of liberation. The question here today, as in the time of the Buddha, is whether the going forth of women in the Blessed One's Dhamma-Vinaya, bhikkhuni ordination, will enable this noble purpose. The Buddha's answer is clearly affirmative. This is the basis of our intent. The entire Doctrine and Discipline, both Dhamma and Vinaya, revolve around and are rightly meant to be skillful means and a practical path to facilitate this one essential purpose. This has been described as the overarching operating principle of the Buddha's Sasana, of his Dhamma, and of his Sangha. We keep the Buddha's intention when we use Dhamma and Vinaya in this way: for facilitating, supporting, and empowering the liberation of women, of men, and of all living beings.

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Mining for Gold

Afterimage: The Journal of Media Arts and Cultural Criticism, May 1, 2007

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Claire Sykes

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