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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With the purpose of illuminating ideas on intergenerational knowledge and craft sharing as a means of fostering solidarity and resistance within and between the various Black communities in Nova Scotia, this panel will engage in ideas on locating pleasure, joy, and celebration as a survival tool while navigating structural oppression.
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“It can be powerful and provocative to bring decoration in. It’s unexpected and not always seen as high fine art."
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"My interpretation of art history is that craft is conceptual art. Craft was a whole new field invented by certain artists as a reaction to the industrial revolution."
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Johnson is concerned that Mi’kmaq baskets will become obsolete, referenced only in archives or glanced at as artifacts on the dusty shelves of art collectors.
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