BIO
Jasmine Liaw is an emerging interdisciplinary artist moving fluidly between roles of a director, designer, curator in contemporary dance performance, new media art, and experimental film. Bicoastal, she is based in what is colonially known as so-called toronto and vancouver, canada.
Evidenced in collaboration and community, her work leans into transcultural narratives intersecting her Hakka-Chinese diaspora, and queer theories in temporality and ecology.
With Distinction, Liaw holds a certificate diploma in Contempoary Dance Performance from the Conteur Academy and a BFA in Integrated Media from OCAD University.
She’s grateful to have presented her work and been in collaboration with artists across so-called canada and internationally. Select presentations include Museum of Contemporary Art Toronto, The Asian Arts & Culture Trust with Holt Renfrew, Hart House, and Stackt Market, Northwest Film Forum's Local Sightings Film Festival (USA), Gallery 44, Images Festival, Interaccess' Vector Festival, Pleasure Dome, Experimental Series - Salt Lake City (USA), Thessaloniki Cinedance International (Greece), Light Moves Festival (Ireland), Festival del cinema di Cefalù (Italy), MPCAS/Grunt Gallery, and more. Select collaborations include adelheid dance projects, Public Visualization Lab, Dias:stories, Ivetta Kang/Nuit Blanche 2024, The Darlings/Chimerik 似不像, Aeris Körper, and more.
With F-O-R-M Recorded Movement Society’s Technology & Interaction Program, she recently completed a two-year research exhibition project as their inaugural Artist-in-Residence. Recently, she published her research in time displacement and dance-technology with Kronoscope: Journal for the Study of Time.
Liaw is a recipient of the 2023 Emerging Digital Artists Award presented by EQ Bank and Trinity Square Video for her experimental film work, xīn nī 廖芯妮 (2023), and a finalist for the Interaccess Media Arts Prize for her work, to name language (2025).
ARTIST STATEMENT
Interweaving dance and new media landscapes, my practice investigates complexities of transcultural identity through sensorial task-based processes with the body. As a method to retracing oral histories and heritage, I choose to create relationships between the body and new media to unravel auto-ethnographic research. In the words of Immony Men, I view the body as a recorder, and at the same time, a record keeper.
Motivated by the relationalities between humans, beyond-humans, and homeland, my practice explores the kinesthetic in-betweenness of bodies in motion through the topography of the body. I am interested in translating the terrain of my ancestry, epigenetics, and linguistic displacement through transparent materials; light, glass, water as a strategy to visualize the complications of transcultural identity.
Challenging the societal limited view of emerging female artists of colour working in dance-technology, my interests in unworlding offer sustainable methods of art-making by prioritizing somatic research and visceral body movement. I look for non-linear, slow, collaborative, and intuitive forms of creation. As a practice of erosion, my work leans into the weight of displaced time as a circulatory offering of refusal towards dominant Western structures; developing an endurance for generative changes and knowledge(s).
CV upon request