Artist Curator Interview: Krystal Paraboo

Krystal Paraboo is an all-encompassing creative. An Art Historian, Curator, Writer, and Community Builder, she places tremendous value on artistic expression and cultural development based on the foundation of fostering authentic human connection and inclusive practices. She graduated with a Bachelor of Honour’s Degree from Queen’s University in 2013, with a double major in Art History & History. She also attended the Bader International Study Centre in the United Kingdom, with extensive study in Art History and Curatorial Studies on-site at the Courtauld Institute, National Gallery London, and the British Museum.

She is joining us as one of VMF’s Guest Curators this year and we were so excited to ask her some questions that we’re giving you a sneak peek to get you excited for our Artist Curator Talks tonight! Tune in tonight August 18th, 7PM - 9 PM with THIS LINK to meet Drew Young, Scott Sueme, Krystal Paraboo and Sierra Tasi Baker. Learn about their different approaches to mural curation, how the process can work, and hear about the many surprises that are guaranteed when curating in public space. Moderated by David Vertesi, Executive Director at Vancouver Mural Festival.

What has been a highlight of your career so far?

Meeting and working with Takashi Murakami and Solange Knowles during periods where they were in Vancouver sharing their art within galleries, even if it was for a short period of time for them both.

How did you become an art curator?

I’ve always created different forms of art but have equally enjoyed project-based components of approaching art such as discovering or creating thematic discourse around groups of art objects, and situating them within a culturally relevant context. I studied Art History and History at Queen's University, and studied abroad in England where I was trained on-site at renown art institutions such as National Gallery London and Couthauld Institute. I worked at a few private galleries upon graduation, and always enjoyed the process of organizing the walls of the gallery with works from our collection, and researching them in-depth to provide an educational component to potential buyers. Since then I started curating my own art exhibitions in both conventional and unconventional gallery spaces, and have been loving it.

What is really inspiring you right now to do your work?

The sudden surge of interest in BIPOC artists. Viewers are now eager to hear and support more diverse stories through art, and this is something I’ve been trying to provide visibility to for years, so the fact that my job is being made easier is pretty exciting. I can now focus solely on the execution, as opposed to first fighting for the artists/causes themselves.

Who are the artists that you have curated for this year’s festival?

For murals: Anthony Jospeh, Tabouli, Carole Mathys, Jennifer Clark, Pearl Low, Tafui, Edge, Rachel Wada, Sean Jantzi, Caitlin McDonagh, David Camisa and Arty Guava.  A few additional ones to the 12x23 exhibition.

Tell us about your curation process with VMF this year.

In the beginning of the curation process pre-COVID when we were given 5 artists to choose from, I was focussed more on my duality interpretation of the theme climate change. There is the ferocious affects on the environment and threats to ecosystems that tends to be the main focus, but there is also a very complex humanistic view that tends to get overlooked. Whether it’s acknowledging capitalism fuelled by privilege groups are producing majority of the global carbon emissions, or that marginalized groups who are at the forefront of the movement preserving biodiversity will be the most affected by climate change, etc. I wanted to find artists that would fit into this polarity of how I interpret climate change. I also wanted to explore specific ways of pushing the boundaries of muralism stylistically. On the community side, I really wanted to focus my curation on making space for Black artists this year. VMF’s mandate has always claimed to be key upholders of diversity, yet I always noticed the lack of Black artists not featured every year. I particularly wanted to engage with telling the history of Hogan’s Alley which not many Vancouverites are privy to.

What have you learned through this curation process with VMF?

That curating for public art is a WAY DIFFERENT ball game than curating for public and private gallery spaces. I’ve always been cognizant of the fact that space influences the relationship between the artist and viewer, but notions of how and why have been challenged through curating with VMF. Having to work with building owners, I’ve also learned how to adapt more as a curator working in public art, as there is less control in the process when your goal shifts from pursuing your vision in its entirety, to finding ways to accommodate portions of your vision based on what’s feasible and permitted.

Anything you’re particularly excited about?

Collaborating with Hogan's Alley Society on Anthony Joseph's mural, the "Celebrating Black Resurgence" talk with the Black artists I curated, and supporting and documenting through short films all of my artists as they paint their walls.

Do you have any advice for someone who would want to get into your line of work?

A great work ethic is key; the pace of work changes frequently and you have to be ready to adapt to changes at any point. Above all though, I’d say do your best to expand your mindset before approaching curation. The worst thing you can do is have a very narrow perspective on anything. Maintain exploration outside of what you are comfortable and familiar with. Critical thinking and a fundamental understanding of various styles, social issues, communities, compositions, etc are key.