Put a finger down if you’ve ever been personally victimized by social media algorithms
An exhibition of artworks by
Ashley Dawn Guenette
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A thesis exhibition presented to the University of Waterloo in fulfilment of the
thesis requirement for the degree of Master of Fine Arts
in
Studio Art
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University of Waterloo Art Gallery, April 2022 Waterloo, Ontario, Canada, 2022
© Ashley Guenette 2022
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Author’s Declaration
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I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public.
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Abstract
Put a finger down if you’ve ever been personally victimized by social media algorithms is a collection of critical reflections on embedded social media microaggressions reflecting acts of racism, body shaming, the glorification of mental health disorders (such as ADHD, depression, anxiety and eating disorders), as well as ‘That Girl’ routines, and the biased algorithms that make them tick. Using strategies such as humour and exaggeration to my advantage, I translated this digital content into hand-based methods (drawing, painting, soft sculpture, and linoleum carving) to reinterpret this seemingly playful content and to offer the viewer time to reflect on the more hateful sides of social media which are normalized by Pop Culture.
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Land Acknowledgement
As a white settler ally, I extend my deepest respect to all Indigenous peoples. In writing this thesis support paper that speaks critically of the oppression which takes place within online social spaces like TikTok, as well as proven within the architectures of these platforms, I acknowledge and understand that these same oppressions act as the foundation and building blocks of all systems that I navigate and profit from every day.
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Within my research, I am speaking from a perspective that has benefited directly from the impacts of a history of settlement and colonialism. I present my personal experience and frustration with these systems while navigating its matrix of domination. These systems continue to fail at upholding empty promises of reconciliation.
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The city in which I have lived during the time of this degree, as well as the University of Waterloo campus in which I was fortunate to pursue my creative studies, sits on the traditional territory of the Attawandaron, Anishnaabe and the Haudenosaunee. This land on which we study is situated on the Haldimand Tract, which was promised to the Haudenosaunee of the Six Nations of the Grand River – this land has never been delivered. I also benefited from growing upon the traditional territory of the Atikameksheng Anishnawbek, within lands protected by the Robinson Huron Treaty of 1850.
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I share all of this to acknowledge the occupation that my ancestry has had within this country, and to reflect on my inherited privilege while navigating these systems every day– like the inheritance of being able to scroll past certain trends and microaggressions without being harmed.
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Until we take accountability for our actions of colonial violence, genocide, neglect, and racism towards Indigenous Peoples and Turtle Island is returned, we will continue to live within this hateful cycle of abuse which are perpetuated on land as well as within digital spaces.
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Acknowledgements
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I’d like to extend my deepest gratitude to all who have supported me along my studies. Thank you to everyone in the Fine Arts Department at the University of Waterloo for the unique experience, the expertise, knowledge and skills that I have acquired over the last two years.
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First and foremost, to my graduate committee, Jessica Thompson, Cora Cluett and Doug Kirton, who were always readily available to offer me insights, critique and encouragement. The knowledge and support you have shared with me are sentiments I will hold forever, and hopefully pass on to my future students. Second, I’d like to thank Shana MacDonald, PhD., who acted as my external examiner – for the carefully curated questions and informed discussion that was my defence. Third, a big thanks to Adam Glover, the studio labs manager, who was always available to help with the bigger as well as the smaller projects – especially during the COVID-19 pandemic. Over the last two years, he has and continues to put in the effort needed to ensure our spaces remain safe and comfortable. And thank you, Tara L. Cooper, for ensuring our MFA studies were as eventful as possible, making the difficult and frustrating times, brighter and exciting – as well as for your generosity with your time, to offer help and support in any way that you could.
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Pursuing studies during a pandemic was challenging, but the friendship built with my MFA classmates improved the experience immensely – Thank you for all the laughs, tears, knowledge, and love. I am so grateful to have had the opportunity to work alongside each and every one of you, and to have learnt a bit from you all.
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I’d like to thank my closest friends (with a special shout-out to Abby Yuill) for their words of encouragement, and endless availabilities to FaceTime with me. Moving to a new city mid-pandemic proved to be lonely at times – Thank you Danica and Jack for the home-made meals and company on those lonely nights. And thank you, to my parents and siblings for their love – with a special acknowledgement to my mother, professor Arlene Johnson who is my biggest inspiration.
Last but not least, I would also like to acknowledge the generous funding by the Shantz family for my artist mentorship in BC with artist Colleen Heslin. As well as a thank you to Colleen, for your willfulness to mentor me during those weeks, offering insights, wisdom and encouragement – I appreciate your generosity and cherish the experiences and memories deeply.
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Thank you all.
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Table of Contents
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Author’s Declaration
Abstract
Land Acknowledgement
Acknowledgements
List of figures
Preface: Commitment Issues
Intro
Part 1: Algorithms as Mean Girls
Part 2: Trends: You Can’t Sit With Us Conclusion
Bibliography
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List of Figures
Figure 1. Ashley Guenette, Commitment Issues, Installation and Detail, yarn and fabric on monk’s cloth, 12’X2’, University of Waterloo Student Gallery, 2021.
Figure 2: Ashley Guenette, Put a finger down if you've ever been personally victimized by social media algorithms, Installation of MFA thesis exhibition, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 3: Ashley Guenette, Nice Rack, linoleum carving print on t-shirts, installation as part of Put a finger down if you've ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 4: Ashley Guenette, Thicker Than a Snicker, linoleum carving print on t-shirt, installation as part of Put a finger down if you’ve ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 5: Urban Dictionary, Thicker than a snickers definition by akm12345, Screen-Shot, January 4, 2011.
Figure 6: Ashley Guenette, Thicker Than a Snickers series, oil stick on canvas, 6’X8’, linoleum carving print on t-shirt, installation as part of Put a finger down if you've ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 7: Ashley Guenette, You're So Easy, oil stick on canvas, 6’X8’, installation as part of Put a finger down if you've ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 8: Tracy Emin, Another love story, acrylic on canvas, 23.82”X31.5”, 2011- 2015, Lehmann Maupin Gallery, Photo by George Darrell.
Figure 9: Tracy Emin, I tried to hold your soul, acrylic on canvas, 60.04”X72.05”, 2015, Lehmann Maupin Gallery, Photo by George Darrell.
Figure 10: Ashley Guenette, installation of Becoming That Girl and You’re So Easy as part of Put a finger down if you’ve ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 11: Ashley Guenette, Selection of oil stick drawings as part of What it means to be a girl series, oil stick on sketch paper, 11"x14", University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 12: Ashley Guenette, What it means to be a girl series, installation of 61 oil stick drawings on 11”X14” sketch paper, as part of Put a finger down if you've ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 13: Ashley Guenette, Becoming That Girl, oil stick on canvas, 8’X6’, installation as part of Put a finger down if you've ever been personally victimized by social media algorithms, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 14: Urban Dictionary Screen-Shot, That Girl definition by Mrspyramidhead1, June 19, 2021.
Figure 15: Ashley Guenette, Hot Girls Have Digestive Issues, water-based paint and oil stick on canvas stuffed with couch foam, Installation, University of Waterloo Student Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 16: Ashley Guenette, Hot Girls Have Digestive Issues and What it means to be a girl series as part of Put a finger down if you've ever been personally victimized by social media algorithms, installation of exhibition, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
Figure 18: Ashley Guenette, Put a finger down if you’ve ever been personally victimized by social media algorithms, installation of MFA thesis exhibition, University of Waterloo Art Gallery, Waterloo, ON., 2022, Photo by Scott Lee.
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