Nour Bishouty is an artist based in Toronto who works across sculpture, the moving image, works on paper, and writing. Having encountered her work at various exhibitions and screenings in Toronto including at Cooper Cole, GTA21 at the Museum of Contemporary Art Toronto, and Toronto Palestine Film Festival, and having had the fortune of discussing Nour’s work with her over the years, we decided to extend our dialogue. The following conversation was conducted during her latest solo exhibition at the Museo Universitario del Chopo in Mexico City entitled Madre Improbable (Unlikely Mother).  Unlikely Mother centres around two new films: Catfish Mother Puddle of Juice (2026) and Untitled / Loop (2026). The former moves between scientific language, familial narrative, and animal allegory, to consider how bodies become legible through systems of naming, classification, and description.

Elizabeth M. Webb is an artist and filmmaker whose material practice is entwined with experimental research. These two aspects of her work are inlaid, as it is nearly impossible to speak about one without the other. Originally from Charlottesville, Virginia, Elizabeth’s family history is embedded in her work, in particular its oscillating histories of racial passing throughout the United States. The artist often considers her own experience, and that of her family’s, as a way of examining broader social structures, and how those structures are at odds with lived realities. Her research process acknowledges these limits, her questions leading her through and around theoretical texts into the homes of estranged family, local churches, and former family plantations.