Her style of producing art is described at "slow and steady", since she pursued other avenues while also creating, leading to "gaps" in her C.V. (In this time she taught, travelled and raised a family).

Since her work ranges in medium, I have chosen one work from the "3D" collection on her artist website, one from "Installations"and one from "Photo Etchings and Prints".

Here, June Clark is presenting the American flag, in different states and positions in a blank room, inviting the viewer to immerse themselves in this patriotism-filled world, while also examining the true colours of America.

June Clark is exploring her relationship with the American flag. In a statement for the Daniel Faria gallery, she explains that she used to feel pride and attachment when faced with the flag of the Unites States.

When she left the United States, she did so not due to her hatred for the very soil of the country, since she did love it, but because of the political powers that imposed a draft.

From this, complex feelings of identity and attachment to the flag developed. She says she pent many hours in her studio downtime simply creating flags over and over.

She planned this exhibit specifically around Trumps electoral campaign in 2020, to make her feelings evident that she has woken up from the American dream. She realised that her love for America and the pride that was instilled into her very young could never be returned.

This installation shows ripped up flags, showing how the democratic ideals of America are fading away, which becomes even more significant in today's political climate.

She is breaking into pieces what the American flag represents, right before the eyes of the viewer.

Her work is profoundly autobiographical, since it all explores said themes of identity, which will always be personal to the specific individual.

To me, this shows the beauty of the body being capable of the creation of human life, putting emphasis on the power of women. The image at first can be seen as grotesque, but it carries so much beauty, especially with the writing overlaid, it turns the body into a mode of storytelling.

Clark has spoken about how part of her "wake-up" from the American dream came from seeing the open-casket funeral of Emmett Till when she finally ventured out of her segregated New York neighbourhood in her teens.

The roughness of this piece is raw and honest, showing the less polished parts of life, but how they must still be accepted.

The posts if the table are reminiscent of the spikes used to deter pigeons. Upon closer inspection, it is actually multiple needles and nails. The briefcase contains objects including what seems like a gavel. This could possibly represent how privileged views often see the rougher areas if cities as "lacking justice". The silver coins are possibly bus change.

To me, this looks like old vampire hunting kits, since all the objects have a meaning aura, and nothing is quite friendly or welcoming.

This is a usage of visual storytelling, the tile implies that someone wouls take these items to go into the city, possibly showing their biases and what they need to prepare for. The spikes can be seen as a way to ward off anyone hwo alos wishes to go downtown.

In essence, Clark is exploring the relationship of privileged areas and cities and how one views/affects the other.

“June Clark – Visual Artist.” n.d. https://juneclark.ca/.

June Clark: Unrequited Love. (n.d.). Daneil Farai Gallery. Retrieved April 10, 2025, from https://danielfariagallery.com/exhibitions/june-clark-unrequited-love

“Unrequited Love - June Clark - Canadian Art.” 2021. Canadian Art. March 3, 2021. https://canadianart.ca/reviews/unrequited-love/.