As I leave artist Lorna Bauer’s house after my visit to her home studio, our third meeting, she gives me a hug and wishes me luck on an upcoming move. We make plans for a drink on her back porch, “once things start to bloom.” Walking away I make notes on my phone about the visit. Patricia’s garden upstate. Daffodils, hydrangea, magnolia. Grouse like a dirt bike. Adair’s drawings. Pollinators. States of transformation. Like glass in its molten state. Like the latent image on film as developer meets fixer meets water meets heat. Like a flowering tree in April in Montréal. It's been only a few weeks since we first met. Although I’ve been following Bauer’s work for some time and we both live in Montréal, our paths hadn’t crossed before this profile. We meet in March, on what was the warmest day of the year so far—though it’s since been surpassed many times, thank god. An ugly, garbage-decked, rhapsodic Tuesday in late winter. I walk across a few neighbourhoods from my home to meet Bauer at one of Montréal’s big studio buildings, working up a seasonally-unlikely sweat, caught up in an impression of being passed on all sides by runners made quick by their freedom from specialty winter gear.

Anne-Marie Trépanier is an artist, editor, and cultural worker living in Tiohtiá:ke, with a practice that sprawls between writing, experimental publishing, and new media. She co-creates the bilingual publication Cigale with her collaborator Laure Bourgault, writes on and offline, coordinates events, and is involved in research on productive (mis)uses of Zoom. As part of her MA thesis research she is looking at feminist practices of information activism online. Specifically, she’s using archival web research, digital storytelling, and curation, to explore how Ada X (fka Studio XX) — a feminist artist-run centre dedicated to gender and technology, founded in 1996 — has organized, stored, and provided access to information through their website. As is clear in our conversation, these aren’t just research interests; they are entirely enmeshed with Anne-Marie’s life as a queer feminist who has been “online” since childhood.