CHASE JOYNT is a Toronto-based moving-image artist and writer whose work utilizes strategies of first person engagement to interrogate representations of gender and violence. Recently awarded the EP Canada/Canada Film Capital Award for Emerging Canadian Artist and jury awards for Best Documentary and Best Short, Chase’s work continues to be exhibited internationally. In 2013, Chase starred as Mars Brito, the lead character in John Greyson’s Murder in Passing, which is widely regarded as the most ambitious transmedia public narrative project available on public screens worldwide. Murder in Passing is currently being made into a feature film.
As a recipient of a Mellon Fellowship in Arts Practice and Scholarship at the University of Chicago, Chase’s recent speaking engagements include Harvard University, Princeton University, NYU, The New York Academy of Medicine, University of Manchester, UC Berkeley, and the Museum of Contemporary Art, Chicago. Chase holds a BA from the UCLA School of Theater Film and Television, and is a PhD candidate in Film at York University where he holds a SSHRC Doctoral Fellowship. His first book You Only Live Twice, co-authored with Mike Hoolboom, was published by Coach House Books in May 2016. His second book, The Case Of Agnes, co-authored with Kristen Schilt, is forthcoming from Duke University Press.
Chase's next two film projects, Between You and Me and Genderize, are forthcoming from CBC Docs in Summer 2016.
I artistically endeavor to tell stories about experiences that I fail to find elsewhere. This broad (and self-consciously idealistic) motivation to destabilize, unpack and reorder various narrative ‘truths’ requires that my work remain formally flexible, and oft inspires me to respond in experimental and hybridized ways.
My practice is grounded in a commitment to find the most compelling | effective | beautiful ways to accomplish this unpacking, and as such encourages me to always ask questions. I wonder what it might mean to tell personal stories without claiming personal truths? And furthermore, I wonder what it might mean if the story of me didn’t have to inherently disprove and/or de-authenticate the story of you?
Photo by: N. Maxwell Lander