“A Day in the Life” with: Visual Artist Anique Jordan -

Anique Jordan has a way of making you look closer. Whether she’s working with photography, sculpture, installation, or writing, her practice invites us to think differently about history, memory, and the stories we’ve inherited. Her work asks difficult questions, but it always leaves room for curiosity, imagination, and possibility.

What I’ve always admired about Anique is how expansive her practice is. She’s as comfortable creating ambitious gallery installations as she is writing, curating, or building conversations that bring people together. No matter the medium, there’s a deep commitment to Black life, community, and the archive that runs through everything she does.

Her work has been exhibited across Canada and internationally, including at the Art Gallery of Ontario, Gallery 44, and the Art Gallery of Windsor, among many others. She has received numerous awards and recognitions, but what stands out most is her ability to create work that lingers with you long after you’ve left the gallery.

Spending time with Anique’s work reminds you that art isn’t just about what we see. It’s about what we remember, what we question, and what new futures we can begin to imagine

-Written by Evelyn Amponsah

Anique Jordan — I’m often experimenting with new ways images can be experienced off the page. Here, I’m using a graphic coding software called MAX to turn a TV into a live camera monitor that glitches when someone passes in front of it.

Often this is the work—leafing through old documents, reading children’s books, and asking questions. During a recent research trip in Charleston, South Carolina, I visited the Avery Research Center for African American History and Culture with hopes of finding traces of my own family story in their collection.

As both an artist and a curator, I find myself in some of the most incredible places with artists and thinkers creating spaces that invite us to explore and understand the work and each other differently. Here, I’m in Ljubljana, Slovenia, amongst the work of Italian artist Chiara Camoni, as the co-curator of the 2025 Global Hearth Summit presented by The Wellbeing Project.

And other times, I’m closer to home. Gardening both inside and out is something I constantly fall in love with.

On my way to teach my course, Haunted Time, at Parsons School of Design.

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Which ’hood are you in?

I live between Toronto and a small post-industrial city in the US. Even though I’m always in and out of the city, Toronto—more specifically, Scarborough—is home.

What do you do?

I run my own studio as an artist and an independent curator. I’m also an assistant professor in Design History and Theory at Parsons School of Design in NYC, and I teach in the Visual Arts Department at Brown University.

What are you currently working on?

I’m working on two major projects: Underbelly, my first book, which explores the methodology and practice at the heart of my work. The second project is my first public art gallery solo show to be held at The Varley Art Gallery of Markham in fall 2026. This exhibition explores mythology, folklore and truth-telling devices emerging from Caribbean, West African, and Southern US histories.

Where can we find your work?

You can find my work on Instagram, on my website, and at Patel Brown Gallery.

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