Johnson and Bennett create a fitting metaphor for the original and ongoing white-washing of Indigenous language and culture in our society at large and artistic culture in Canada.
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“People thought I was a guy. I kept secret that I had three kids. I kept secret that I was a woman.”
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Amery Sandford draws upon the history of touristic paraphernalia, such as postcards and brochures from the early 20th Century that depicted North America as a pristine escape from the cultural and economic troubles of one’s homeland—a new frontier.
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Ambera Wellmann's oil and Instagram works are in dialogue with the rich tradition of European painting. Wellmann's pushing both mediums and proving the timeless potency of the unsettling image.
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That these pieces “live” as they do is overwhelmingly apparent in Mid-Sentence; they exist in conversation with each other across distance and time, a living interaction, and they evoke a sense beyond the physically sculptural, beyond image, to live in relation to the viewer.
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With New Found Lands, curators Pamela Edmonds and Bushra Junaid have reimagined a narrative by magnifying its margins.
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WhiteFeather Hunter is creating living textiles: using her own hair, silk or gut sutures and mini 3D-printed looms and crochet hooks to weave scaffolding upon which connective tissue can foster.
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Inspired by the terrifying tales of mythical monsters she connected with as a child, Marigold Santos unravels her memories and experiences to form her own personal myths, inspiring viewers to do the same.
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In an art world unbeholden to market forces, what’s the correlation between the jurors of funding councils and awards to who they render visible and the image of Canadian that presents to the rest of the world?
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There’s a soft delicacy in the works that comprise Rilla Marshall’s Liminal Project, which makes the realization of its decidedly uncomfortable subject matter all the more jarring and arresting.
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Delving into the personal and surreal, Neil LaPierre is committed to bringing the HA-HA’s into art discourse.
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Richard Mueller is not so interested in coherent pictorial space or literal depiction as in the potential of formal arrangements to engender associative and emotional responses “independent of literal language.”
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