Anyone can call themselves a curator—it is their right to do so. It is a charming word and engaging profession, but there is a fine line between adopting the title and adopting the responsibilities which accompany the role as it both applies to and affects the real world—one with causation, persuasions and mechanisms both within reach and impenetrable. Creating a context for an exhibition to exercise my ability to create said context is not my ambition; instead, I aim to consider the possibility of each context thoroughly, believing that "art for art's sake" is not synonymous with "context for context's sake." Artists make art for specific reasons, and curators should respond accordingly. The curator's role is quickly evolving. My eyes and ears are open so as to respond to stimuli, current events and my environment. I am a scout—on the lookout for: the sublime, an emotion, blissful image, grotesque notion, obscene perspective, mundane ritual, graceful silence and determined fist. My identity is fundamentally rooted in this quest and inquiry which relates to art and the artist as an instigator of objects, designs, situations, concepts and expressions—anywhere on the spectrum from traditional to nonconformist.

Artists may find themselves alone in their creative process, which can be either a relief or a hindrance depending on an artist's goals and values. There is no doubt in my mind that artists succeed when they collaborate with others, ranging from other artists to curators to everyday citizens. The curator is a tool for the contemporary artist—especially those who wish to experiment and understand how contrasting exhibition modes can influence and relate critically to their work. Working with curators helps artists alleviate tensions related to the nuts-and-bolts and formal presentation of ideas—from the site-specific to process-based to political to educational to that which is intended for printed matter. In addition, artists are more apt to be informed about local and international resources available and how to access them by working with curators of diverse backgrounds. By definition, a curator is the artist's caretaker, overseer and confidant. Yet, today's curator is also a translator, storyteller, medium, filter, incubator, foghorn and guiding light.

My current research interests are cross-cultural tactics, site-specific curating, psychology, law & society, immigrant rights, visual studies, Americana, Scandinavian art / cinema / design, contemporary and avant-garde literature. Functional versus ineffective collaboration techniques are a concern of mine. I am convinced that strong, well-informed communication gives one more control over their destiny. I do not shy away from the personal, uncomfortable, disastrous, rejected and askew; on the contrary, I am drawn to these spheres. In addition, my own experiences and desires are equally important regarding my ability to relate to and connect with creatives. I am not only a curator but a creative writer, critic, dog-owner (a Weimaraner named “Vasa the Victor”), avid cyclist and cinephile. Yet, my actions do not always serve my present self or others, but instead: the future.

Over the course of several years, I have gathered relevant work experience in the publishing, editorial and arts industries by working directly—both as a team member and leader—with a number of skilled professionals and artists along the way. In the past, I have apprenticed with editors Rebecca Wolff and Anthony Hawley at Fence Magazine & Books in NYC, where I gained firsthand experience and insight on how to successfully manage publishing projects and organize literary events. Shortly thereafter, I attended a Summer Literary Seminar in St. Petersburg, Russia, where I participated in intensive creating writing workshops—my most memorable ones were led by Mary Gaitskill and Terese Svoboda.

During my interim in Los Angeles and at the California Institute of the Arts (CalArts), I served as teaching assistant for two professors in the Critical Studies department: poet Douglas Kearney and writer / curator Matias Viegener of the artist collective Fallen Fruit. I have also received formal training in pedagogy by previous CalArts instructor Brian Blanchfield via his 'Teaching Practicum' course. While at CalArts, I received invaluable mentorship from the poet and activist Jen Hofer and writer Christine Wertheim—both provided personalized yet critical responses to my writing practice. Additionally, I have served as a writing teacher at My Friend's Place, a non-profit organization for homeless youth in downtown Hollywood and partner in CalArts' Community Arts Partnership (CAP) and literacy program, assisted poet Anthony McCann and curator Mark Allen with fundraising / grantwriting responsibilities for the non-profit organization Machine Project, worked with gallerist Lizabeth Oliveria and with the co-founder of Les Figues Press, Teresa Carmody.

Upon coming to Stockholm, I received guidance from Swedish artist Måns Wrange, as well as from London-based artist and curator Marysia Lewandowska, regarding the ethics of curating with politico-social considerations in mind, audience participation, inquiries into opinion forming and the intersection between curating and publishing. I aspire to be a writer and curator who acknowledges influence yet values both established and artistic research methods; I strive to maintain the conviction and curiosity needed to cultivate novel modes to join creative forces of difference. Since residing in Sweden, I have taught English / Humanities courses in an international setting, as well as personally tutored students of diverse backgrounds. I am interested in generating more comprehensive literacy programs and accessible workshops of both practical merit and those which provide a link between traditional learning and experimental 'play.' I am the project manager / founding editor of the small publishing press and curatorial node valeveil.

—Jacquelyn Davis