Artist of the Month: May 2024
Interdisciplinary Artist
Calgary, AB
Diane Din Ebongue is a Cameroonian-born and French-raised interdisciplinary artist and arts manager passionate about intangible cultural heritage and empowerment processes. Her artistic repertoire includes visual, literary and media arts. After gaining experience in script supervision, cinematography and editing, she earned a Master's degree in Science, Arts and Techniques of Image and Sound from the University of Aix-Marseille. Her debut film, 'À chaque jour suffit sa peine', was featured at the Aubagne International Film Festival in 2013. In 2016, her second film, "La Relève", marked the introduction of a community-oriented approach to her art. Diane's work was recognized by the International Council on Archives in 2018, where she showcased the project “Palabres” and led a workshop on the construction of collective memory. Her work has since been exhibited globally, including in Europe, Cameroon and Canada, through artist residencies, exhibitions, publications and festivals.
How does it feel to be chosen as ICAI’s Artist of the Month?
I am honoured to be selected as the Artist of the Month. It gives me an opportunity to stop and reflect on my professional accomplishments since I arrived in Canada. It is a gratifying experience to be recognized by my peers for my craft and my contribution to my local community. It is also a great opportunity to promote my work.
Could you provide insights into your artistic journey, particularly focusing on the exhibitions you've been involved in and how they've influenced your trajectory as an artist?
After working for five years as an audiovisual technician and digital project manager in France, I moved to Australia in 2019 and spent two years working for indigenous art centers. I came to Canada in December 2021 and worked for several arts organizations in roles ranging from gallery host to program manager. I was selected for the 2022 cohort of IAMP run by ICAI which allowed me to access the 2022/2023 cohort of the RBC Emerging Visual Artist Program at Arts Commons. There, I exhibited "Bona Bantu", a mixed-media collection exploring the cultural heritage of the Sawa people of Cameroon. Between 2022 and 2024, I participated in several art exhibitions, talks and residencies in Calgary, including the Ritual Arts Group show at cSPACE, the IAACC residency program at Fuse33, the Humainologie short story festival and the Capacity Building Residency at the Grand.
Can you elaborate on the inspiration and guiding force behind your creative process?
Being an interdisciplinary artist, it is essential for me to diversify the mediums I use as they all feed each other. Through creative writing (short stories, poems), abstract paintings (mostly acrylic) and mixed media installations (sculpture, found objects, textiles, etc.), I explore the intersectionality of my cultural identity. What does it mean for me to be a French woman of African descent living in Canada in the 21st century? How is my perception of culture evolving through my travel experiences and encounters with indigenous populations worldwide? Through media arts, I invite underrepresented populations to participate in the collective documentation, storytelling and analysis of our collective history.
I question social and cultural imaginaries, modes of representation and language barriers.
I like playing with colours, light and composition to create symbols that will open the gate for a reflection on our social ills while promoting social innovation for a positive change.
Skin Installation with LED and acrylic, Diane Din Ebongue
Could you offer insights into your projects, creative process, and perhaps some words of advice for the vibrant creative community here in Alberta?
Every time I choose the medium that will best express the message I want to share, I explore its ability to serve as a common vocabulary for people who do not share the same cultural referents. Creating artwork is an opportunity for me to build a safe environment where complex matters can openly be discussed through a universal dialogue that transcends the barriers of philosophical beliefs and cultural sensitivity.
Has ICAI provided any specialized information for you, and how did that help your work?
I've heard about ICAI through social media and applied for IAMP. As a newcomer to Canada, I needed to better understand the local creative and art sector. The program helped me shape my career path and opened many doors for me to fulfill my professional goals in Canada. The information provided by ICAI through info sessions, professional development, newsletter, social media and curated programming specifically caters to the needs of immigrant arts professionals and artists.
ICAI has been useful in mapping out the local arts sectors and opportunities for growth.
What motivated your involvement in ICAI’s Mentor in Residence program offering guidance to newcomer and immigrant arts professionals
I’ve found immense value in receiving mentorship myself when I first arrived, and I continue to benefit from it. Recognizing the ongoing need for growth and support, I was drawn to ICAI programs. Its meaningful initiatives, specifically designed for artists and immigrants, bridge the gap between settlement agencies and arts support. I’m passionate about contributing to such a comprehensive approach, and I’m committed to offering my support and expertise to help newcomers navigate their journey in the arts community. I’ve been able to offer mentorship support to one individual who reached out to me during the first month of the current Mentors in Residence cohort, and we’re still actively working together.
As a participant in ICAI’s Immigrant Arts Mentorship Program (IAMP), could you share how this program supported your professional development and artistic journey?
I participated in the second cohort of ICAI’s Immigrant Arts Mentorship Program (IAMP) in 2022, a crucial time for me as I was still unfamiliar with the local art scene. I needed guidance on where to find information and how things operated here. Although I had prior experience in the arts sector in my home country and internationally, I quickly realized that integrating into and working within a new country presented unique challenges. Unlike international partnerships where there’s an understanding of cultural differences, settling in a new country requires a different approach. I discovered the program through social media, and I felt it was a perfect fit for me at that moment.
The combination of mentorship and training sessions proved invaluable.
Having a mentor who understood the local sector while also possessing broader theoretical knowledge provided a well-rounded perspective. Overall, it was a great combination that significantly supported my professional development and artistic journey.
Were there any particular workshops, sessions, or projects within the program that stood out as particularly impactful?
There were several aspects of the program that stood out to me. Firstly, being mentored by Lanre Ajayi was truly remarkable. As an immigrant artist himself, he understood the challenges I faced and provided invaluable guidance. He not only helped me navigate the community but also involved me in various projects where I volunteered and even had the opportunity to be hired. Additionally, participating in the Arts Commons RBC Emerging Visual Artists Program (RBC EVAP) was an incredible opportunity.
Every day, I felt fully supported, and the program offered additional training, which was immensely beneficial.
Bona Bantu, I Speak Art II Exhibition, Arts Commons Galleries, Diane Din Ebongue
Being part of the IAMP opened doors to meeting other members of my cohort and connecting with community members and emerging artists. One standout experience was working on an exhibition where I explored mediums outside of my usual filmmaking background, opting for mixed media painting instead. This holistic experience was enriching. Moreover, I learned about various funders during the program and concurrently applied for funding, highlighting my participation in the ICAI program, which I believe helped open doors for me.
During IAMP, we dedicated four hours to mentorship sessions each month. My mentor would often call me to discuss his ongoing projects and share relevant resources such as books. Initially, our interactions were more casual, just chatting about various topics. However, as time went on, I transitioned into actively supporting him on projects that resonated with me. It was always a mutual understanding, never a directive to attend certain events or do specific tasks. I focused on what aligned with my journey. Soon enough, I found myself working on Ethnik Festivals, initially as a Program Manager, depending on the projects' needs. This opportunity emerged shortly after my involvement in the IAMP.
The Arts Commons exhibition was a fantastic experience. It held special significance for me because upon arriving here, I encountered a different dynamic due to the COVID situation. Having been away from home for some time – living in Australia and spending time in France before coming here – I hadn't had the chance to reconnect with my parents or my home country of Cameroon. This exhibition allowed me to deeply connect with my roots. Interestingly, my time in Australia exposed me to aspects of Australian Indigenous cultures that resonated with my personal experiences, sparking a desire to explore my African heritage further.
I felt compelled to create pieces that reflected aspects of my culture, language, and the connections between people, part of a larger group of language communities.
Exploring these themes allowed me to delve into aspects of my heritage that I don't encounter every day, providing a meaningful journey back to my roots. The open and welcoming environment at Arts Commons made it even more fulfilling to share this experience with my cohort and the community in Calgary. These conversations about heritage and culture aren't always common, so it was truly a valuable and enriching experience for me.
Well, for me, the primary focus was understanding how things operate in Canada and how I could leverage my skills effectively. Adjusting to the financial landscape here was particularly important; there were terms and concepts I'd heard before, but understanding their practical implications was essential. This learning process was invaluable, providing not only knowledge but also reassurance. Before experiencing it firsthand or receiving guidance, there was often doubt about whether my skills would translate effectively. Learning about these aspects helped alleviate those doubts.
Additionally, gaining insight into the funding opportunities and artistic landscapes in Canada was crucial.
Understanding distinctions like emerging versus established artists and roles like artist managers broadened my perspective on the arts sector as a whole. It's fantastic how comprehensive the program is, addressing various facets that contribute to overall growth and development.
What unique insights or discoveries do you anticipate as you prepare for your first solo exhibition in Canada?
Back in 2014, I embarked on a research project centered around skin tone perception, particularly within the realm of cinema, which later became the subject of my master's thesis. However, I put this project on hold as I aimed to pursue a PhD, but struggled to find the right environment due to its interdisciplinary nature and the scarcity of labs equipped for such research. Despite this setback, I remained committed to the topic, continually seeking ways to revive the project. Upon arriving in Canada, I was encouraged by the opportunities for open discussions around race and inclusion, especially in institutional settings where marginalized voices were being heard. This prompted me to reach out to CADA, who supported me in reigniting my research project. I approached it from both research and artistic angles, creating various pieces using digital arts, acrylic lighting, LED lights, video photography, and more, while simultaneously delving into the nuances of diverse skin tones in photography and film. The project has been incredibly enriching, involving collaboration with 18 individuals from different parts of the world, each sharing their experiences and perceptions of skin tone. It's been a deeply emotional journey but also a tremendous learning experience.
It will be my first solo show here, a moment I've been eagerly anticipating.
When you've invested so much time and effort into a project, there's a profound sense of fulfillment in finally sharing it with others. It's something I've been envisioning for a long time, and I'm genuinely excited about the opportunity to connect with the audience. Moving forward, I hope to extend this dialogue through both public-oriented and professional partnerships, aiming to raise awareness and collaborate with like-minded individuals passionate about the same topic.
Colour Contrast Experiment, Diane Din Ebongue
I recently completed the Arts Leadership Residency Program in Toronto, a collaboration with NIA Theatre, a Black-led organization. This opportunity was made possible through funding from the Rozsa Foundation, which I acquired thanks to my involvement with ICAI. It was a valuable addition to my experiences. While juggling various commitments, including the aforementioned residency, my main focus remains on the project centered around skin tones.
I aim for people to connect with my work on both an artistic and intellectual level.
One piece I'm particularly excited about involves creating an acrylic representation of skin tones and how they interact with screens, since I couldn't acquire LED lights. To achieve this, I need a deep understanding of how light travels through the skin and what it signifies. I want viewers to ponder the questions I'm exploring and to engage with the piece on a profound level. Additionally, I have several generative art pieces in mind, including projection mapping and experimenting with various techniques. There's still much to be done, but I'm enthusiastic about the creative process ahead.
I See Colours Film, Diane Din Ebongue
I have immense appreciation for CADA for their inclusivity and the comprehensive support they offer to artists. Beyond just providing funding, they assist artists throughout the application process, offer insights into the artistic landscape, and understand the community's needs. It's evident that their purpose aligns with serving the community and bridging the gap between artistic endeavours and community needs. I'm truly impressed by their dedication to this cause. Rather than pursuing a traditional PhD route, I opted to create an environment that provides a solid research foundation through the arts, incorporating both qualitative and quantitative methods.
I recently received funding from the Canada Council to conduct research that delves into the practices of media arts professionals, specifically examining their comfort levels in working with diverse skin tones, the importance of skin tone accuracy, and the challenges faced in this realm.
That funding will also support the development of an online educational platform, aiming at providing an inclusive space for arts professionals and enthusiasts to ask questions and ideate on complex topics related to representation and interactivity in the arts. The ultimate goal is to create comprehensive resources that address the gaps in current discussions surrounding skin tone representation.
Additionally, I'm partnering with another organization to develop an online educational platform, providing a safe space for arts professionals and enthusiasts to ask questions and ideate on complex topics related to representation and interactivity in the arts. The ultimate goal is to create comprehensive resources that address the gaps in current discussions surrounding skin tone representation.
Skintone in Motion, Film, Diane Din Ebongue