Symbolizing change, perception and hope, this CBC Arts logo marks Transgender Awareness Month

Every month, we feature a new take on the CBC Arts logo created by a Canadian artist. Check out our previous logos!

The creative process can be totally wild. So wild, in fact, that when this month's logo artist gets an idea, he likes to picture inspiration as a wriggly little fox. You know — "hard to pin down," he explains. It's why he goes by the name Unfoxme, actually, and this Winnipeg artist loves a creative challenge. 

In 2018, Unfoxme started working as a freelance illustrator. "I was approached enough about commission work that I thought, why not give this a try?" he writes. "There's something very rewarding about working with others in an effort to bring their ideas to life." But this assignment, a CBC Arts logo to mark Transgender Awareness Month, tells a personal story about his own transition. Over email, Unfoxme shared more about his work and the concept behind the design. 

Name: Jaymes (a.k.a. Unfoxme)
Age: 23
Homebase: Winnipeg

For the unfamiliar, how do you like to describe what you do as an artist?

It's a cliché, but I attempt to have a conversation through my work, whether it's about a specific topic, or just a mutual appreciation of something nice to look at.

Let's talk about your design! What inspired the concept?

My lived experience as an openly trans person. It has been a series of changes, of myself physically, but also in the relationships I have with myself, with family, friends and with the world around me. Fire, like change and transition, is neither inherently positive or negative — it's a stepping stone to something new. I balance it with memory of the past, and the hope of growth to come. 

Who's that staring at us? What's the significance of the eyeball?

In a very literal sense, that eye belongs to all of us. It's us — our perception of self and others, and being perceived in turn. It's a very human struggle, but as a trans or nonbinary person, that scrutiny from all sides often feels, and is, magnified, with very real consequences. 

Eyes appear in a lot of your work, I've noticed, but they're not the only recurring images. Catholic iconography, for example, pops up a lot: angels, the Sacred Heart, the Virgin Mary. And lots of plants and mushrooms, too. What motifs do you find yourself returning to and what do they represent?

Part of the repetition is comfort in familiarity, and also the versatility of each of those images. I love how many stories I can create with iconography, and even though Catholicism isn't a part of my life, it's recognizable to others and very open in terms of interpretation. I also place emphasis on just allowing myself to create what I want to in that moment; worrying about meaning or intention can be a real block creatively for me. If I see imagery I like, a certain texture or mood, I explore it. Sometimes I find a meaning developing in the process, and that's an added bonus. I'm no stranger to making art with a message — it's an important tool as a creator — but I think there's merit in making things for the sake of it, for love of the aesthetic or process, that we shouldn't be afraid to embrace. 

What's the project you're most proud of?

While it's not a singular project, I derive a lot of pride from my commissions for tattoo design. Designing for skin is an intimate process. It requires a lot of trust, and I'm always honoured when someone is willing to give me that. Knowing that there are people out there with my work on them, possibly permanently, is somehow both exciting and incredibly humbling. 

What's your favourite place to see art?

Online, Instagram tends to be my go-to for finding new art. When it comes to traditional viewing, however, I love publications like the magazine Hi-Fructose and visiting free-entry galleries.

Who's the last artist you discovered online?

Makoto Chi is absolutely brilliant!

What work of art do you wish you owned?

There's a lot of incredible art out in the world. It's hard to narrow it down. I think I'd like to spend time with the piece BODY 09-1 "Impact" by Aoki Chie. I saw it in the Hard Bodies exhibit, hosted at the Minnesota Institute of Art. It was eerie and gorgeous.

What's next for you? What do you have on deck this fall?

I'm moving into linocut, with the aim of making my own art prints in-house. Things are a bit wild right now, so it feels good to slow down and to use this time to grow my skills.

Where can we see more from you?

All my work goes up on my Instagram and my portfolio on Artstation.