In Over Our Heads, original designs are beaded onto bonnets, caps, and headpieces. When selecting objects to work with, 4 pieces of women’s headgear seemed to fit together somehow. My first thoughts were about oppression, in that these are objects designed to cover the head. Mennonite women traditionally covered their hair and, being a MennoniteContinue reading “Over Our Heads, 2020”
Performative work, Sacred Mountain of Oropa, Biella, Italy, 2018
Early in 2019 I was thinking about a new series of beaded works, which I had titled Beaded Baroque. The original concept was to bring contemporary beading into conversation with the Baroque period of art history. I’m fascinated with the Baroque period as it is a time when European nations were accumulating great wealth from the colonial project, which fuelled the artistic production of the time. I was thinking a lot about how the Métis fit into this, but have somehow been erased from the visual record of the time. Being close to Venice, where beads prized by the Métis originated, when I thought about what my Grandmothers and aunties would want me to bring back from this place, the answer was beads, lots of beads, and my stories. These where the first thoughts about this series of work, which has evolved considerably since I’ve begun.
My first task was to search for a studio space and by pure serendipity, I stumbled upon an old country house that had been closed for over a decade. The house was inspiring to me from an artistic perspective in that its last inhabitant was an antiquarian who had amassed an amazing collection of objects. The house had remained as he left it, mostly, for many years following his passing, slowing undergoing the natural process of decay, reclamation by the land, and occupation by thousands of insects. I’ve been living and working in the house while I create my new body of work, allowing the objects, history and insects it contains to fuel my artistic practise. I’ve now begun to see parallels between the process of beading and various activities undertaken by insects. I’m interested in the role the insects play in transforming objects, incasing them, eating them, moving them, and inhabiting them. Working to take them back into the land. The project has become more about relationship to the the site, the insects, the objects, and the process of beading and less about the Baroque period. The project itself has transformed, as have the objects, through this collaborative work with some of our kin from the insect nation.
ArtFarm Pilastro 2019 (June 28-30). In this project, a rustic niche in an outbuilding of a 17th century farmhouse in the low country of the Italian province of Verona was temporarily transformed into a little chapel dedicated to the other than human. The exhibition was part of an international residency hosting 35 artists working acrossContinue reading “Little Chapel for the Other Than Human – Summer 2019”
This body of work combines photography and performance in an ongoing conversation about relevant discourses in contemporary practice and art history, specifically by reflecting our current time of uncertainty and environmental decline in conversation with the Baroque period. Current events bombard us with images of disaster, war, and suggestions of our impending demise as a species.Continue reading “Nuova Baroque”
Over a year in the making, this is the most ambitious work I’ve ever taken on. It is a chronicle, of sorts, of my adaptation to my new home city of Brescia, Italy. The birch used to form the path is something from my homeland, the foundation of the composition, and the material onto whichContinue reading “Where the Wind Took Me”
In 2017, I started incorporating beading into sculptural works. The resulting series of fishes reflects my personal study of the Mediterranean Sea and Italian lace-making, combined with a long-standing interest in beadwork. Materials are central to this series. Copper was selected for its conductive properties to form the skeleton of each work. Even though theContinue reading “The Feast of the Fishes”
Master of Fine Arts Thesis Exhibition at the Gordon Snelgrove Gallery, Saskatoon, Canada from September 12-23, 2016. Click here for the Thesis Exhibition Statement.
Beaded works on felt. http://www.grainmagazine.ca/462
During the creation of this work I was researching Métis identity from a visual perspective. I was looking closely at the work of numerous contemporary Métis artists as well as historical family photos. In those photos several women, my ancestors, took the stance that you see The Woman in; a strong stance with one handContinue reading “The Woman and the Wolf- Sohkahcahkwew”