Ploughing Liberty, 2021                                                                                                                                                                                                                             Insta

Ploughing Liberty, 2021 Installation at MOCA Toronto’s GTA Triennial Antique farm implements, found hockey sticks and brass dowels

Ploughing Liberty brings together a full playing field, where labour receives as much value as sport. For a moment, the two disciplines reconcile, but stories of inequality—and unequal playing fields—remain systemic and contemporary.

The work reflects Oluseye’s research of the Black Loyalists, a mix of enslaved people and free individuals who departed New York to become farmers in Nova Scotia in 1783. Fusing discarded hockey sticks—an object linked to white Canadian identity—with antique farm equipment, the work raises broader questions around liberty, labour, and the symbols that make up our national psyche: “What cultural icons do we recognize on a national level? How do we decide, and who gets to decide? Is it possible to have an all-encompassing idea of national identity, or is Canada’s diversity itself the national identity?”

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 Ploughing Liberty, 2021                                                                                                                                                                                                                             Insta
Oluseye_Ploughing_Liberty_1.jpg
Oluseye_Ploughing_Liberty_5.jpg
_HAF3341 MEDIUM RES.jpg
_HAF3333 MEDIUM RES.jpg
_HAF3332 MEDIUM RES.jpg

Ploughing Liberty, 2021 Installation at MOCA Toronto’s GTA Triennial Antique farm implements, found hockey sticks and brass dowels

Ploughing Liberty brings together a full playing field, where labour receives as much value as sport. For a moment, the two disciplines reconcile, but stories of inequality—and unequal playing fields—remain systemic and contemporary.

The work reflects Oluseye’s research of the Black Loyalists, a mix of enslaved people and free individuals who departed New York to become farmers in Nova Scotia in 1783. Fusing discarded hockey sticks—an object linked to white Canadian identity—with antique farm equipment, the work raises broader questions around liberty, labour, and the symbols that make up our national psyche: “What cultural icons do we recognize on a national level? How do we decide, and who gets to decide? Is it possible to have an all-encompassing idea of national identity, or is Canada’s diversity itself the national identity?”

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