Acclaimed artist Danielle Dean is unveiling her much-anticipated solo exhibition, Out of this World, at Mercer Union. Located at 1286 Bloor Street West in Toronto, the art exhibition showcases Hemel, the British-American artist’s inaugural large-scale commission in Canada. Hemel is a collaborative commission involving Mercer Union, Spike Island in Bristol, and The Vega Foundation which is skillfully produced by LONO Studio. Dean’s latest film project, Hemel unfolds within an immersive cinema setting.
In Toronto, the presentation of Hemel extends germane conversations to the Canadian context, given body and labour politics have been significantly influenced by the tensions between single-industry towns and urban centres. The film coexists and engages in dialogue with backdrops and props, intentionally directing our focus to specific elements within the film. This marks the seventh project under Mercer Union’s Artist First commissioning platform and follows a recent commission and exhibition by Faraz Anoushahpour, Parastoo Anoushahpour, and Ryan Ferko titled Lovers’ Wind.
The Associate Professor of Visual Arts at the University of California, San Diego, who was born in Alabama to a Nigerian father and an English mother, grew up in a suburb of London. She tells us the message she hopes to convey through the art exhibition and film. “In my art, I closely examine how technology, architecture, marketing, and media serve as tools for subjugation, oppression, and rebellion. My film highlights the often overlooked struggles of biracial individuals and immigrants in a society that undervalues their contributions,” Dean says. “Through this work, I aspire to ignite discussions on racial discrimination and foster solutions to this pervasive issue. It’s a call to action for corporations like Amazon to foster a culture of belonging, to dismantle systemic racial barriers, and to create equitable work environments where every employee, especially those from marginalized communities, can feel safe and respected.”
As an interdisciplinary artist, Dean delves into the geopolitical and material processes that shape both the mind and body. Her work has spanned various commissioned projects. Additionally, she has exhibited at esteemed venues such as The Contemporary Austin in Texas, Tate Britain in London, and Midnight Moment at Times Square Arts in New York, among others.
Dean draws inspiration from archival materials and records such as film and advertising while creating bold environments to establish and invigorate her research-based projects. The Hemel film is captured on 16mm and serves as an intimate portrait of Hemel Hempstead, the town where the artist spent her formative years.
While delving into the history of Hemel Hempstead as a planned community established under the New Towns Act, the film portrays as a personal essay. Explaining to us further, Dean says, “this is about amplifying the voices of the underrepresented and challenging the misconceptions that immigrants ‘take jobs.’ Instead, we must recognize the richness that diversity brings to our workplaces and the critical role that all workers play in the tapestry of economic and organizational success.”
Situated just outside of London, U.K., Hemel Hempstead was designed with a utopian perspective in mind following World War II. The town aimed to facilitate a mass departure of city residents into the suburbs, where they could live, work, and study without leaving the community. Industrial zones and factories were amalgamated into the town, functioning as primary employers and driving the local economy. Even today, light and heavy industry continue to play a significant role in the town, attracting immigrants who have transformed the town’s fabric.
In a press release, Theresa Wang, the Director & Curator of Mercer Union shares that “for Mercer Union, the film asks important questions about the role of communities in times of societal change, and the underlying structures that support their creation.”
Hemel positions the town as a microcosm for exploring critical issues related to race, class, and contemporary labour conditions—all central themes in Dean’s research-focused practice. The film references a 1957 sci-fi horror B-movie, shot in town, which revolves around the arrival of a non-human entity infiltrating residents’ minds, endangering life with a toxic black slime. Dean’s portrayal takes into consideration both aspects of herself and the movie’s protagonist, bridging real and imagined worlds, weaving together past and present.
For more details on her collective art projects, visit her website or view her Instagram account.
