Lisa Thomas sees her work as visual narratives. She is drawn to the dark underbelly of the human condition and explores the soulful, ridiculous and sometimes sad elements that make us who we are. She strives to create her own mythology through her work to inspire awe, concern for humanity and hope.

She has followed a winding path through several disciplines and has been diverse in her creative pursuits. She studied visual arts at the University of Ottawa, architectural design at Algonquin College, and landscape design. Her performance art and installation work has included the spoken word and sound, as well as dance.

Lisa has experience with museum installation work, set painting, mural painting, architectural and landscape design. All this and her ongoing explorations in painting, drawing and sculpture, as well as a life long fascination with mythology has informed and shaped her and brought her to this current project.

Brian Sanderson resides in Rupert, Quebec where he works as an artist and educator. He has worked as a musician and performer in a wide variety of contexts over a career than spans 3 decades. Known for his predilection for arcane and less championed instruments, Brian's worked has appeared in numerous recordings, independent films and theatre productions.

Brian was a member of the renowned Peterborough ensemble, The Silverhearts, with whom he recorded 4 albums. Currently, he works with the legendary old-time trio, Sheesham and Lotus and 'Son, as well as the Juno award-winning Montreal-based ensemble Esmerine.

Most recently, Brian has been touring in support of Hezekiah Proctor and the Hash-house Serenaders, as well as Producing Elizabeth Logue's Keep Mars Red, and is working on a video collaboration with artist Lisa Thomas and videographer Geoffrey Boulangé entitled Le Monde Ne Nous Appartient Pas.

Geoffrey Boulangé is a French-Canadian filmmaker and editor based in Rivière-Rouge, QC. He studied cinema at the E.N.S.A.V (École Nationale Supérieure de l'AudioVisuel) and after a few years of activity in France, he settled and has been living in Montreal since 2009.

Since then, he has worked on diverse trans-media projects and documentaries such as Code Barre (NFB), Les Enfants de la Bolduc (LusioFilm), Les Symptomes Figurants shot on the set of Sophie Deraspe's Signes Vitaux. He has also created numerous video art pieces like Laurentides I, which was selected at the Kyoto Art Quake Creativity Biennale and Antimatter Media Art, in addition to several music videos, including ones for the Juno Award-winning band Esmerine and the legendary Swiss band: The Young Gods.

In 2018, he produced and directed the short movie "Where Have All The Big Trees Gone," which was selected at the Ecozine Film Festival of Zaragoza.

As an editor, Geoffrey is a Canadian Screen Award winner for his work on Sophie Deraspe's "Antigone" (Genie Award for best editing and l'IRIS for best editing in 2019).

He started his collaboration with Sophie Deraspe on "Profile Amina" (Gay Girl in Damascus), which was nominated for the Genie Award for Best Editing in a Documentary. The movie was selected at the Sundance Film Festival, and it won the Prix Gémeaux for the best documentary in 2015. He also edited the documentary "Innu Nikamu; Chanter la Résistance" directed by Kevin Hervieux-Bacon. The movie won the IRIS for Best Documentary at the Gala du Cinéma Québécois in 2017. Additionally, he edited the documentary produced by NFB: "Plus Haut Que Les Flammes" directed by Monique Leblanc, which was nominated for best editing in public affairs, documentary - broadcast at the gala des prix Gémeaux in 2021.

Emily Rudenberg is a dance artist for stage, film and photography and has had a lifelong career in classical ballet as a performer, instructor and choreographer.

"I would describe my current work in improvisational dance as both meditative practice and self-exploration. During the past few years, I have been spending more time dancing in outdoor spaces, letting my motions be shaped by my natural environment. Giving structure to this type of expression can be hard, but it is something I have been forced to focus on in all my recent work. This occurs especially in film, where I repeat motion paths through designated frames and can easily lose the inspiration for movement. Because I am not relying on rehearsed sequences, I must work to bring something refreshing and honest each time I begin again. I must find something in the way the earth is shaped under my feet and let it move me."