Fill Your Cup: BioArt in Canada
What Do We Mean When We Say ‘BioArt’?
Join us online on August 17, 2026 at 3pm ET for an open conversation about the many terms used throughout anglophone and francophone Canada to describe what we're calling 'bioart.'
From microbial pigments and industrial biodesign to environmental sensing, fermentation, tissue engineering, ecological restoration, speculative biotechnology, biofabrication, multispecies care, and more, Canadian practitioners contribute distinctive perspectives to international conversations about art, science, ethics, and the future of life in an era of rapidly evolving technologies. The field is broad, plural, and continually intersects with adjacent fields of practice and inquiry. Bioart is not only practiced differently, but also conceptualized and discussed differently within the country’s anglophone and francophone communities.
BioArt in Canada is mapping the history, development, current landscape, and policy relevance of bioart practices nationally with funding support from SSHRC. BioArt in Canada approaches bioart as a living and evolving category whose diversity emerges through multiple languages, disciplines, regions, and communities of practice.
Participate in this online event, and/or fill out the survey to ensure your practice is documented in Canadian bioart history.
BioArt in Canada is a research-group-in-residence with Art/In Forum, where people working with artistic intelligence gather. Find out about joining Art/In Forum here.
Art/In Forum's Fill Your Cup events are seasonal opportunities to meet in an open, lightly facilitated format.
If you require accommodations to participate, please contact us.
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Dr. WhiteFeather Hunter is an internationally recognized Canadian artist and researcher. WhiteFeather holds a PhD in Biological Art through SymbioticA, The University of Western Australia, and an MFA in Fibres and Material Practices from Concordia University. Her doctoral thesis, “The Witch in the Lab Coat” was a TechnoFeminist negotiation of science biocultures by using ‘taboo’ materials such as menstrual fluid in tissue engineering protocols and producing DIY lab hardware; this included witchcraft as performed resistance to medicalized control over women’s bodies. Dr. Hunter’s recent projects include Sentient Clit—The Pussification of Biotech, an exploration of 3D-bioprinting clitorises embedded with her menstrual stem cells differentiated to neuronal types, in order to produce a synthetic organ that responds to stimuli. The project was awarded an Ars Electronica 2024 S+T+ARTS Prize jury nomination.
Ludmila Lima de Morais is a Ph.D. student at Simon Fraser University’s School of Interactive Arts & Technology (SIAT) in Vancouver, Canada. She holds an MFA in Intermedia from the University of Alberta, a Bachelor of Visual Arts from the Universidade de Brasília, and a Licentiate Teaching Degree in Visual Arts from Claretiano University in Brazil. Her research and artistic practice explore immersive environments, interactive art, memory, dreams, migration, and the relationship between humans, nature, and technology. Working across virtual reality, 3D animation, robotics, sound, and installation, Ludmila creates works that investigate how digital and material environments can shape embodied experience.