In December 2025, I was invited to join the CBC Creator Program team as a freelance researcher and copyeditor. Tiffany Wice, the associate producer for the Creator Program, was seeking a skilled researcher that could assistant with fact-checking and visual research. We had just recently worked together on the Skylight Caper video with YouTube content creator Christeah and Tiff was impressed with my abilities. I was shortly after brought on to the Paraskeva Clark video.

As part of my research for this video to find additional sources, I visited both the Art Gallery of Ontario's library and the Toronto Reference Library. Since Clark was a resident of Toronto, both of these institutions were incredibly useful. In visiting these sites, I was able to share materials that were not available online, including an interview with Clark from 1960. Another article was sought, but it could not be tracked down as both of the microfilm reels that would have contained it at the Toronto Reference Library had been misplaced. This research allowed me to fact-check the script and provide additional sources that went beyond the scope of the video. I was able to uncover some of the obscure articles referenced in the script on databases like the Internet Archives. One of these, written by artist Elizabeth Wyn Wood, was featured in the video. 

Many more visual materials were sourced from various databases online. A number of pictures of Clark and her first husband, for example, came from Library and Archives Canada. I searched many more databases for other materials that did not make it into the video. 

This relationship began with trans history workshops presented for trans youth groups run by AYSP. A couple times a year, Tobias Evans-Hinostroza, a counsellor for AYSP, would reach out to hire me to prepare and run a workshop for the youth group he runs. Largely presented over Zoom, I would share a PowerPoint slideshow that told various trans histories that would be relevant to the participants. Notable workshops included general trans history in Canada, the history of transition related surgery in Ontario, and expansive understandings of trans people throughout history. During these workshops, I would educate on the given subject, but always remain open to further questions that strayed beyond. It is my belief that in knowing trans history, we can imagine a trans future. At a time when trans identities are under attack, providing these glimpses allow trans youth to picture a world where they can continue to exist.

In 2025, I began delivering workshops for AYSP and other Peel community groups as part of larger events. These included Trans Day of Visibility, Trans Day of Remembrance, and Peel Pride. For TDoR and TDoV, I presented on the Association for Canadian Transsexuals, the earliest known trans activist group in Canada. In addition to the slideshow, I brought books and artefacts from my collection to show attendants. For Peel Pride, there was a planned digital exhibit, but that proved unsuitable on the day. Instead, I conducted one on one conversations with many Pride goers about queer and trans history, aided by the number of books and historic artefacts I brought with me. I had a table set up where I laid out the materials I had brought and encouraged people to look through the collection and have conversations about queer and trans history. 

Most of my work on this video was script editing. Christeah and I have developed a good working relationship where we can bounce ideas off each other and build upon them. Christeah had previously worked on a video about the Skylight Caper, so she had a number of sources already lined up. Additionally, connections within the CBC allowed for her to speak with a journalist that had previously written about the case. As such, additional sources was not as necessary for this video, although I did help to find an old Montreal police website that included black and white photos of the stolen paintings.

What did I provide was structure. My input helped to shape the video script to emphasize clarity and impact. When there were sections that needed to be rewritten, I would take them into a separate document and break them down according to what each sentence was trying to achieve. I would then rebuild those sections with that in mind, highlighting what worked and what didn't. I never replaced what was written, as I believe Christeah, as the lead writer for the script, should have final say on what is changed. 

The video was a success, according to the internal statistics from the CBC Arts YouTube channel. Metrics indicated that the video had an average view duration of 5:32, the highest that associate producer Tiffany Wice had seen. The video was also featured on the CBC main page, which is very uncommon for CBC Creator Program videos. 

I had previously written about the Clarke's GIC with my first exhibition, but I had never fully researched the history of the ArQuives at that point. What followed was a significant research into the history of the institution, both through books like Out North by Craig Jennex and Nisha Eswaran, and in person archival research at the ArQuives. I had decided that the first article was going to be a StoryMap, a kind of pseudo-exhibition that would follow the geographic location of the ArQuives over time. This required uncovering obscure photos of the ArQuives offices throughout its fifty year lifespan. I paired these with discussions about what the ArQuives was experiencing while in those locations. Many of these photos were either photo negatives or slides, which required utilizing the flatbed scanner at the ArQuives to create digital versions. I ensured these were scanned with a high DPI so that they could be blown up to much larger sizes if needed. See the example below. I did this for dozens of photos. 

The final result was A Geographic History of the ArQuives. I tend to think of this less an article and more as an exhibition; my approach toward developing it echoes my experience designing digital exhibitions and so I focused heavily on visual materials in my research. 

The article on the Clarke Institute's Gender Identity Clinic was one I pitched to DMC directly. At the time, I had noticed that the project did not include much trans history, and the Clarke seemed like a good inclusion. The full history of the Clarke is not as well known and it does not have the paper trail that the ArQuives does. Very few sources are easily accessible, and since I strongly believe that stories like these should highlight the voices of trans patients, I actively sought out those that wrote about their experiences at the Clarke, notably to journals like Chrysalis Quarterly or in Viviane Namaste's book chapter "Access Denied" from Invisible Lives. There are shockingly few accounts from the early years of the Clarke, meaning this was largely dependent on activists like Diana LaMonte and her oral history.

The resulting article, Jurassic Clarke: The Problematic History of Canada's First Gender Clinic is currently one of the first results for Clarke Institute Gender Identity Clinic on Google.  

As a result of the COVID-19 pandemic, the initial exhibition was cancelled. I decided to start this website in part to give it a new home, with the exhibition launching in June 2021. In May of the same year, while recovering from my own surgery at WCH, I was asked to speak to the Women's College Hospital Foundation board, discussing my exhibition and my surgical experience. 

In the years that followed, I was one of many Patient Experience Advisors, previous patients of the program that the department could call upon for any number of projects. These often included interviews with local news anchors. Other times, I would be invited to partake in research discussions, such as in 2024 when the TRS department had a research retreat; I was the only invited guest that did not have a background in medicine or science. 

Frequently, I was asked to add my voice to various academic articles. WCH is a research hospital, and the TRS department has often explored beyond what is currently known about transgender health. In my unique position as both a researcher and a patient, I was able to provide valuable insight into the practices and the ways that the transgender community was discussed. 

One of the most notable projects I joined was a project proposal for an animation that educated trans femme patients about post-surgical dilation. When I joined, the project plan was very disjointed and disorganized. Necessary information like animation software was missing. Through my editorial suggestions and structural reworks, we were able to create a much stronger plan that included all the necessary information to move forward. 

Most of the videos that Christeah produces, she has sent me the script to review. I will generally give feedback and direction, helping to build up the video's structure further. If there were parts of the script that I felt were not clear, I would break down the sentences and provide suggestions of how it could be rewritten. Occasionally, I might search out additional sources that she could use to expand the script. 

Our most notable collaboration was the 2024 video Museums and S*x. This video was written by the two of us, based upon the ideas that Jennifer Tyburczy discusses in Sex Museums, namely that all museums are sex museums. This video was in development for around a year while we were both working on various other projects. The final video was very successful, garnering 23k views since it was published. 

I was invited by Hannah Hethmon of Better Lemon Creative Audio to be on an episode of their podcast We The Museum to discuss my work with transgender museum studies.

To listen to my episode, follow this embedded link to the We The Museum episode page or search "We The Museum" on your podcast app. A full transcript and additiona information can be found on the episode page. 

​On March 26th, 2022, I was invited to discuss my work on transgender museums at the Council for Museum Anthropology's 2022 conference The Future Is Now: Emerging Perspectives in Museology and Museum Anthropology. My talk begins at 5:08:02. 

The Q&A at the end of the panel was unfortunately short. There were a couple questions that I was asked and did not have time to answer verbally, but wrote out responses in the chat. Those can be seen below.