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Video Art Screening | Fruit Loops II: Too Fruity Too Loopy

Updated: Oct 5, 2022

Video Art Screening | Fruit Loops II, Too Fruity Too Loopy

Moncton | September 23rd, 8pm

Sackville | October 1st, 8pm

Online Screening | September 29th, 8pm


On demand October 16th, 7PM to 10PM ADT Link Here

FRUIT LOOPS is back and better than ever!

Galerie Sans Nom and Struts Gallery are excited to team up and announce the next iteration of our 2SLGBTQIA+ video art screening series: Too Fruity Too Loopy/Si Froufrou Si Farfelu. We are also excited to announce the artists for Fruit Loops II: B.G-Osborne, James Knott, Joe Nadeau, Madeleine Lychek, Miranda Bellamy, Racquel Rowe, Sabine LeBel, Shan Leigh Pomeroy, and Thierry Huard.

FRUIT LOOPS will be screening in both Moncton and Sackville. Unable to make it to the event in person? No worries – there will also be a livestream screening on September 29th. Check FRUIT LOOPS out at: Centre culturel Aberdeen

Moncton, NB

September 23rd at 8PM

Struts Gallery

Sackville, NB


October 16th, 7PM to 10PM ADT Link Here

_______________________________________________________________________________________________ Program:

1. Joe Nadeau – GendrBendr (2022). 2m54s

2. Shan Leigh Pomeroy – Shapeshifters in the Garbagetimes (2022). 1m47s

3. B.G-Osborne – Trans Body with Scars (2019). 6m54s

4. Racquel Rowe – Sundae (2018). 7m5s

5. Sabine LeBel – Breaking Up Is Hard To Do (2021). 6m

6. Madeleine Lychek – All The Bras I Own (2017). 2m

7. James Knott – UNDER CONSTRUCTION: Guided Instruction Manual – The Window (2018). 2m52s

8. Thierry Huard – Wrestling (2022). 6m47s

9. Miranda Bellamy – Drip, release, in complete memory (2019). 4m22s



GendrBendr (2022). 2m54s


“GendrBendr is visited one morning by the biggest enemy known to trans people besides Karens – dysphoria. Dysphoria points at and mocks them through the mirror.

The first image that comes to mind when I try to explain the feelings of dysphoria to others is the feeling of not recognizing yourself reflected in the mirror. For several years, I was unable to imagine how I saw myself like in my mind until the day I learned the term ‘non-binary’. Since then, my face belonged to me.

In this video, GendrBendr receives a chest binder as a gift and discovers new joy in life (euphoria). They learn to love themselves, breaking out in dance. Gender identity is also about learning to love our trans body, like the art it is, no matter what stage of transition it is or not”


Originally from Edmundston, Joe Nadeau graduated in 2022 from Université de Moncton’s Baccaulauréat en art dramatique (Bachelor of Dramatic Arts) program and continues to work in theatre, with the basement of their grandparents being their first stage. You may recognize them from their recent portrayal of Bougrelas in the Department of Theatre’s 2022 production of Ubu Roi, at Pays de la Sagouine, or their work as a comedian interpreting a young mother at the Grand Barachois cemetery last summer. Having recently finished their degree, they currently are working on writing and producing inclusive films and continue to queer Acadia and Acadian culture.

Instagram: @joenadowho



Shapeshifters in the Garbagetimes (2022). 1m47s

ARTIST STATEMENT “My work deals heavily with identity and body politics. My concept for this project involves a collaged stop-motion animation exploring themes of internal change, shifting gender identities, modes of connectivity, and constant flux that can occur in spite of lockdowns, setbacks, and enforced periods of isolation. I love the idea of using experimental animation to imply shapeshifting, in order to suggest internal and external transformation. “ BIOGRAPHY Shan Leigh Pomeroy (she/they) is a multidisciplinary visual artist and designer currently based out of Newfoundland. She graduated from Concordia University in Montreal, Quebec with a BFA in Studio Art and Art History and is a new graduate from the CNA Graphic Design program.

Shan works in a variety of media, including painting, drawing, design, animation, music, collage, photography, and textiles. Their creative interests incorporate archival imagery and documentation, gender, anatomy, geography, kitsch, as well as the contrast between different media and stylistic tropes. Her artistic output often deals heavily with body politics and the human relationship to health and space, employing tongue-in-cheek methods and clever juxtaposition to communicate these themes effectively. Since 2007, Shan has won awards, project grants, and contributed written and visual projects to art exhibitions, markets, and publications in Newfoundland, Hong Kong, Italy, and Quebec under the profile SHANMADE. Their stop-motion shorts regularly circulate in festivals and special screenings. They continue to actively participate in the Newfoundland creative arts milieu. Shan currently lives and works in St. John’s, Newfoundland with her partner and two cats. (Blue & Goon)

Instagram: @s.h.a.n.made



Trans Body with Scars (2019). 6m54s


“1994. Fell off a small bridge in my backyard while gathering flowers, fell face first into a log. Received 16 stitches inside of lip and mouth.”

B.G-Osborne narrates, and a photograph flashes, imprinting a lingering image in your eye of a child looking at the camera. Osborne’s work, Trans Body with Scars, is an homage to Lisa Steele’s Birthday Suit - with scars and defects (1974) through a trans butch lens. In this video, Osborne unpacks a selection of their scars and respective origins, in presumed chronological order. After each scar is presented, an image appears for a fraction of a second. Osborne allows the audience brief access to the photographs, while refusing to provide full entry. Osborne’s work allows for ambiguity in their recollections, and an entry point for queer and trans viewers to understand how their refusal provides them a sense of agency over their memories and image.

—- Written by Morgan Sears-Williams

BIOGRAPHY B.G-Osborne is a gender variant autistic settler of Scottish and British descent. They were born and raised on Michi Saagiig Nishnaabeg Territory, and are a current uninvited guest on the unceded ancestral homelands of the Beothuk, Mi'kmaq, and Innuit nations.

Osborne’s ongoing projects seek to address the complexities and revisionary potential of gender-variant embodiment/representation, and to unpack and share their experiences with mental illness, neurodivergence and familial bonds. They place great importance in showcasing their work in artist-run centres and non-commercial galleries across Turtle Island.

Instagram: @b.g.osborne _______________________________________________________________________________________________


Sundae (2018). 7m5s

ARTIST STATEMENT Sundae (2018) is a video performance in which I appear as the 'chocolate' base for an ice cream sundae. l lays naked on my stomach as another performer, Maddie Lychek begins to cover me with bananas, followed by various scoops of Neapolitan ice cream and strawberry syrup, hold the sprinkles. Sundae (2018) places an emphasis on how we talk about and treat the black female body and the foods with which we associate it with. Chocolates, snacks, treats to be consumed. BIOGRAPHY Racquel Rowe is an interdisciplinary artist from the island of Barbados currently residing in Canada. She’s exhibited widely across Ontario and holds an MFA from the University of Waterloo and a BA in History and Studio Art from the University of Guelph. Her practice is continuously influenced by many aspects of history, matrilineal family structures, diasporic communities, and her upbringing in Barbados. Her work takes the form of performance, video, site specific work, and installation.

Instagram: @kellrowe _______________________________________________________________________________________________


Breaking Up Is Hard To Do (2021). 6m

ARTIST STATEMENT “Breaking up a 20-year lesbian relationship sucks. Doing it during COVID 19 is worse. Living alone in the space you made as a couple during the red phase of the pandemic feels like a queer emergency. Following the maritime kitchen party tradition, let me mesmerize you with my sexy bad moves in this solo pandemic dance video.”


Sabine LeBel has been making short videos on queer themes since 1999, when she participated in the Inside Out Queer Youth Video Project. In 2013, Sabine was commissioned to make a film for Inside Out's 15th Annual Queer Video Mentorship Project. The resulting work, Dispatches from the Future, is another video by the duo which was awarded a Special Jury Citation for “its innovative approach to storytelling that leaves the viewer questioning notions of reality.” Her work has screened in queer and experimental film festivals including the Inside Out Festival (Toronto), Out on Screen (Vancouver), Gay and Lesbian Film Festival (Budapest) and more. In 2017, with Casey Burkholder, she started the Fredericton Feminist Film Collective, dedicated to making, screening and talking about works by and for queers, trans folks and women. Most recently, they created the Omicron Exhaustion Project, an a collaborative online art project.

Instagram: @wearemutantoy



All The Bras I Own (2017). 2m

ARTIST STATEMENT Madeleine Lychek employs performance art to engage with conversations surrounding power and play, exploring how a body and its consumption can be used as a radical act of self-discovery. Using social media as a playground for digital performance she manipulates her body in order to highlight the limitations and restrictions of the platform, challenging implicit biases within algorithms and digital censorship. Her research-based practice allows for the exploration of her gender in a myriad of ways. Lychek is critically interested in themes of sex, gender performativity, cyberculture and queer futurities. All the Bras I Own (2017) highlights the absurdity of feminine garments and the ways in which women manipulate their bodies out of necessity and survival. BIOGRAPHY Madeleine Lychek is a curator, arts worker and artist working primarily in media, video and performance art. She currently works at the Education Coordinator for Ed Video Media Arts Centre, located in Guelph, Ontario. Lychek has been a professional artist for five years and exhibited locally, across Ontario and internationally, in Bremen, Germany. She has spoken on panels, facilitated workshops, curated gallery shows and art fair booths, both in-person and online.

Instagram: @slut4mail



UNDER CONSTRUCTION: Guided Instruction Manual – The Window (2018). 2m52s


As a means of survival, queer people adapt to and carve space for themselves where there is none; accepting unfortunate realities and transmuting negative experiences by building subverted realities.

UNDER CONSTRUCTION explores the notion of these “constructed realities” by arranging and re-arranging blocks into new architectural formations, creating new sets, props, and environments from which to inhabit; before deconstructing and reconstructing anew.

Within these constructions, posture and gesture are performed as a choreography of the mundane; learning through repetition how to “correctly” perform within the theatre of society. This choreography based in exaggerated mundane gesture serves as an absurdist exposé of the performativity of everyday life.

Having first existed as a performance installation for the 2018 ARTIST PROJECT CONTEMPORARY ART FAIR, it has since been re-imagined in an online context for the 2020 THESSALONIKI QUEER ARTS FESTIVAL. Part publication/part performance video, this iteration synthesized the graphic design language of furniture assembly instruction manuals and guided exercise/meditation media.


James Knott is an emerging, Toronto-based artist, having received a Bachelors of Fine Arts in Integrated Media from OCAD University. Their performance-based practice employs tactics of self-mythologizing, and auto- iconographic aestheticism, as a means to bridge personal narratives into communal ones.

Their work combines theatre, video, and audio to create immersive and emotionally resonant experiences exploring themes of paradoxical and queer identity, with an emphasis on movement/gesture, archetypes of desire, and the commodification of the femme body.

An alumnus of The Roundtable Residency, they’ve exhibited/performed at Xpace Cultural Centre, Trinity Square Video, the Toronto Feminist Art Conference, the 7a*11d International Festival of Performance Art, the Art Gallery

of Hamilton, and the AGO’s First Thursdays. They’ve received project and grant funding from The Artist Project Contemporary Art Fair, The National Arts Centre, The Ontario Arts Council, and The Canada Arts Council.

Instagram: @jamesnotjames



Wrestling (2022). 6m47s

ARTIST STATEMENT “Wrestling is a three-channel video projection created for my recent solo exhibition Les liens. This video projection, originally projected onto three separate screens simultaneously, show three different close-up shots to two bodies in close contact. Wrestling explores relational links through the friction of bodies by de-hierarchizing its individual parts. Pink seals symbolizing relational harmony are painted onto these two bodies. Due to the wrestling-like embrace that occurs continuously throughout Wrestling, these symbols are gradually rubbed and fade, though the imprint of their intent remains.” BIOGRAPHY Experimental artist Thierry is an interdisciplinary artist who bounces from medium to medium. From choreography to costume design, from pictorial art to textile art, Thierry creates a sprawling practice that weaves links between his various fields of interest. His artistic repertoire includes more than a dozen exhibitions including his most recent, Les liens (2022), exploring the limits of intimacy and relationships. His practice approaches creation in an anthropological way, questioning relationships between oneself, others, and one’s environment. His process investigates how remnants of ancient morals affect contemporary human behaviour.

Instagram: @thierryhuard



Drip, release, in complete memory (2019). 4m22s


“Drip, release, in complete memory focuses on an adorned feminine hand as it delicately moves around the rim of a wine glass, creating and manipulating a resonant sound. The glass swirls consistently, set atop a hidden turntable. The hypnotic, droning tone from the glass draws focus to the physical gestures. They’re stilted, unsure and tentative. This dance of the wrist and fingers is in reference to the clunky and sometimes difficult learning associated with transitioning. Female associated behaviours are internalised at a much younger age for cis women than they are for a trans women, this works speaks to the process of learning that I was within at the time of making.”


Miranda Bellamy is an artist whose work often investigates specific environments and the technologies that surround us. Her current practice also examines ideas of queerness from a trans perspective. More recently, Miranda and artist Amanda Fauteux, have begun collaborative projects focused on site-specific engagements with the environment and plant communication. Miranda has practiced extensively since 2008 around NZ and internationally. Her interdisciplinary practice has led to many varied outcomes including with Circuit NZ, Blue Oyster Art Project Space, Dunedin Public Art Gallery, Gus Fisher Gallery, Enjoy Public Gallery, Invercargill Museum and Gallery, Te Tuhi Centre for the Arts, Struts Gallery & Faucet Media Centre (NB, Canada), Kallio Kunsthalle (Helsinki, Finland), and Supermarket (Stockholm, Sweden). She has attended residencies in Invercargill, Wairarapa, Nevada (U.S) and New Brunswick (Canada).

Instagram: @_miranda_was_here_


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