Dubbed by Vice as Montreal’s premier art vandal, MissMe has been busy wheatpasting, preaching, and taking no prisoners. Her explosive style draws you in, but it’s the amplification of marginalized voices in her bright, powerful works that gives you something to take away. MissMe’s unapologetic pieces command attention in sharp tones, exploring her own struggles with race, gender, society, and class while uplifting icons of the past. Her compelling, elegant, and sometimes unsettling large-scale wheatpastes swallow buildings whole, confronting issues of dignity and forcing us to reconsider our own truths. Rarely in any city for more than a few months at a time, the Artful Vandal has channeled the momentum of her art’s global success toward a new movement, passionately advocating for women as role models and pivotal members of their communities. Regularly asked to speak on radio shows, featured in magazines, on panels, and in conferences as the voice of new feminist activism, MissMe has also organized her ideas into workshops and teen programs. Spotlighted by Complex, HuffPo, Vice, TED, and countless others, MissMe’s message is resonating around the world as she continues to shine an illicit light of beauty on the stage and in the street.
"Selfies" are a form of self-portraiture. They can be perceived as abstract, but the artist likes to think they are, on the contrary, a faithful reproduction of her emotions, intimate representations of her psyche. Beyond the genre, beyond the classical translation of the self-portrait, the “Selfies” series is an attempt at individual expression, a search for access to the bareness of the constantly evolving soul and permanently reconstructed moods. Whether it’s the brutality of their finish, the vaporous trace of the aerosol or the raw cutting of their contours, they are, in the eyes of the artist, a representation of the perception she has of her consciousness. In a sense, her selfies can also be seen as a vandalized form of the woman she is or of those she observes around herself.