Danica Drago
they/them
Toronto, Ontario, Canada
Danica Drago is an interdisciplinary artist and arts facilitator based in Toronto. They earned their B.Des in Material Art and Design: Jewelry & Metalsmithing from OCAD University in 2015, but spent most of their time in the Ceramics department. Danica’s work has been exhibited nationally and internationally, in exhibitions, art fairs and symposiums for New York City Jewelry Week, Harbourfront Centre and XPACE Cultural Centre in Toronto, East Carolina University, University of British Columbia, and the Espace Solidor Museum in France, among others.They have led an active studio-based teaching practice in ceramics for the past eight years; working with youth and adults at the Gardiner Museum, Harbourfront Centre, and local ceramic studios in Toronto. They have also facilitated site-specific clay and tool-making workshops in public parks, libraries, schools, streets and rooftops. They are a recent alumni of the Craft & Design Artist-in-Residence program at Harbourfront Centre.
“My practice as a tool and object maker is drawn towards investigating my own embodied experiences of trans/gender expansiveness; through ceramic, metal, and various material outcomes. This work is part of an ongoing series called Porous Binaries; a wearable visual vernacular of sculptural adornment objects, exploring the reconstruction of ideas and material language around gender, sexuality, and human biology. Wearing these pieces make me feel present and connected in my trans body, allowing me to delight in the undefined and celebrate a multiplicity of shape-shifting orientations.”
PB.XYXXYXYYXY, neckpiece, Porcelain, coloured ceramic stain, nylon rope, thermal plastic, 21.5”x 13” x 1.5”, 2022
How does your work relate to the theme connection?
“The language of science has long been used to control and ascribe fixed meanings to the human body, under the guise of being “naturally/biologically” binary. As societal tongues shift to form new words that shape our human experiences, we are reorienting the power that language has over our bodies, as it has been socially and politically shaped by centuries of colonialism, scientific & medical racism and white supremacy.
How then should we regard the meanings of terms like “biological sex” other than constructs that suggest that our bodies, like our genders, are not also capable of fluidity?
Porous Binaries is a wearable series that explores materials and identities in flux; utilizing sculptural forms of adornment to transcend ways of perceiving the body itself. Chromosomes and amorphous tissues are sculpted and reconfigured to form a new visual vernacular that shape-shifts beyond our affixed perceptions of embodied human identities. The human body, like language, is extremely porous. We are comprised of billions of tiny connections; chains of protein, DNA, and nerve endings that are in constant states of transformation. These adornments exist as wearable affirmations for any trans, intersex, or gender variant person to feel validated in their body down to the cellular level. The biology of my body as trans person is not static or binary; a trait that is incredibly common and advantageous throughout the natural world. Like many other organisms that shift their biological orientations to adapt to their environments and social structures over time, my trans body also exists and moves through the world shifting between many fixed ideas of sex and gender."
"PB.010010010104" neckpiece, Porcelain, coloured ceramic stain, nylon webbing, plastic utility buckle, steel utility hardware, 21” x 9” x 1.5”, 2022
What role does connection play in your creative process?
“I make things in many separate components; leaving shapes ambiguous in their nature so that I can freely determine their positions and orientations when the time is right to assemble more solid connections.
Clay is continually fascinating to me, because it is a material that is transforming throughout the making process. The sculptural parts shift, shrink and change colour at every stage of sculpting and firing, and I’m constantly rearranging them in different configurations until the materials and I have settled on how they will be transfigured.
Sponge is also a very intimate material for me, because of its physical and metaphorical porosity. There is a very cellular, body-like quality to this synthetic tissue that is wonderfully rhyzomatic and queer to me. It is made up of presence and absence of space, creating many complex divergent paths, and is both structurally strong and vulnerable simultaneously. It does not have a fixed state, and it presents many opportunities for expressive fluidity. The more time I spend working with this material the more I’ve been able to meditate on how much it relates to my trans/ non-binary body, giving me a soft space to explore the formation of my identities."
“My queerness is a connecting point to all the ways in which I find kinship with human and non-human beings. There is very little that I can experience in the world around me that my queerness doesn't touch."
What connection(s) does your queerness make to the world around you?
PB.010010010010, neckpiece, Porcelain, coloured ceramic stain, 22” x 14” x 1.5”, 2022
Anything else you would like to share about this work? This can be an important part of the process, sourcing materials, or research.
“None of the final pieces in this series are ever fully defined before I finish them. They all are informed as I make, in separate pieces, and they move around constantly until they make unlikely connections through play and experimentation."