By Carrie Allison Sustenance for our bodies, lands, and spirits are inherently interconnected in Indigenous teachings, language, ceremony, art, and contemporary ways of being. Sustenance is often cyclical and reciprocal; it asks for nothing but trusts that we won’t take too much. It is through creating that I gain sustenance, through my work as an...
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"I realized that, for the first time, there would be no cake. It was a hard day. It made me realize that baking a cake was, for my mother, an act of love."
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Reflections of neon Beothuk pendants, electric colours, and textures coalesce into the dark, marbled concrete floor of Eastern Edge Gallery. The energy of the artwork in My Cousin’s Cousin cannot be contained to just the walls of the gallery—it activates all surfaces. This exhibition highlighting the interrelatedness between all beings was created as part of...
Read MoreAn issue that looks at solitude—the quality or state of being alone or remote from society—through the lens of art and artistic practices in Mi’kma’ki, and how as a community of artists we continue to grow and move forward through creation in the context of isolation. It might be the solitude we sometimes undertake for...
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We were saddened to learn of RM Vaughan’s passing in October 2020. He was an author, playwright and artist, and beloved member of the LGBTQ2S+ community. We are grateful for his legacy and his tireless contributions to the arts in Atlantic Canada and beyond. The following piece appeared in the Labour issue of Visual Arts...
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Tremblett’s Reprise is deeply personal, as it weaves text, photography, beadwork, natural found materials, and textiles to connective tissues of ancestry. This illustrates the artist reconnecting to lost histories and refining her relationship to her identity and Innu heritage. It’s both powerful and vulnerable.
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Wren Tian-Morris is a trans Chinese Canadian artist, facilitator, and organizer. Their creative practice is interdisciplinary and explores themes of pleasure, queerness, and the diaspora. Raised in K’jipuktuk (Halifax), they frequently consider leaving, but are finding themselves rooted in “the little nooks and crannies of the city,” which speaks to the transient nature of this...
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In being invited to contribute to this issue of Visual Arts News on the theme of Change, we decided to put forward a conversation about how important it is for settler cultural workers to embrace and embody not knowing, in order to let go of and mourn attachments to the status quo—a status quo built...
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This event occurred on October 14th 2020, as an Anchor project of Nocturne Halifax. Meeting Waters: Cross-Cultural Collaborations on Environmental Racism with Ingrid Waldron was an online event centering Black and Indigenous solidarity through cross-cultural exchanges on environmental racism in Mi’kma’ki. Speakers and performers were brought together to share stories and experiences of environmental racism...
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Gut Feeling showcases a roster of artists who, in Halifax, are nothing short of beloved. Even on a snowy night in a busy week of exhibition openings, Dalhousie Art Gallery was packed with friends and community members who are deeply devoted to the artists featured. Many artists have practices that intersect with their roles as...
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