Bio:
Claud Spadafora (she/they) is a multidisciplinary artist and the co- lead of award-winning arts collective Femmepire. Claud has lived in Hamilton ("Ohròn:wakon" in Kanien'kéha) for their whole life, and they’re deeply invested in the arts here, specifically in keeping community and access at the forefront and battling against the ongoing gentrification of our spaces. They like to work in the genres of camp, science fiction, surrealism, satire, and documentary. Their art practice is queer, angry, soft, chaotic. Claud uses lots of mediums to tell the stories they need to tell. They work in theatre as a playwright and performer, and are expanding their skills as a theatre director and producer as well. They also work in film in all stages of production, with skills in cinematography and post-production editing, as well as screenwriting and performance. Claud enjoys mixing mediums and will incorporate their skills in music and vocals, digital arts and graphic design, and poetry into larger performance works. Claud is a second generation settler of Calabrese and Irish origin.
Artist Statement:
My arts practice follows a model of process over product. The goal is to give myself and my community a chance to artistically express, embody, and recontextualize our lived experiences, as a form of healing and empowerment. That drive is why I started Femmepire with Kitoko Mai, my constant collaborator since we met at McMaster School of the Arts in 2014. Femmepire is a small, low-capacity organization at the moment, but me and Kitoko are learning to expand in a way that’s sustainable for us, as two disabled and neurodivergent artists. The function of Femmepire is to use art and artmaking to bolster cross-movement solidarity in Hamilton, contributing to collective liberation. Since we all have to collaborate with the reality of struggle, we seek to do so while curating joy and pleasure for communities that might struggle to access it- in other words, weaponizing whimsy.
In arts institutions, I see a concerning pattern of under-served folks being wrung for their trauma or demographic-specific insight, with nothing in place to care for the emotional toll such work takes. Consequently, we have an arts ecology where predominantly privileged audiences take in stories and bodies that make us feel like we’re advancing equity in the arts, while those artists are expected to sacrifice their safety and sustainability for a seat at the table. One of my core values as a maker is that arts work, especially arts work surrounding stigmatized topics, should bolster both the viewer and the creators in equal measure.
Highlights:
Playwrighting!
Filmmaking!
Performing!
Community!
Bragging!