Video maker, curator, performer. First introduced to queer audiences as voluptuous African Canadian actor in John Greyson’s videotapes such as Kipling Meets the Cowboys (1985) and Andy Warhol’s Blow Job (New York and Toronto), 1989, as well as his anti-apartheid film A Moffie Called Simon (1986), the queer-friendly Findlay is responsible for the oft-programmed Gender Lace and Glass (1992, 3), a poetic meditation on race, masks and gender-ambiguous desire. A busy participant in the Toronto artists’ video network, in 2000 Findlay curated a sound-oriented programme on “language, the body, performance and freedom of personal choice,” “Queerly on the Ears.”