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In her art practice, Partridge includes any available materials that are at hand – cloth, beads, discarded items – while her written and spoken words touch on what is happening in the world, including Indigenous issues. Apirsait are spiritual helpers, creatures found in Inuit Nunangat, who are called upon in times of need.
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
This group of works honours the artist’s late mother and collaborator, Lorna Hill. They beaded together and embarked on ambitious community art projects together for thirty-five years. Thoughtful creation became personal condolence, a contemporary version of the ancient Wiping Away the Tears Ceremony, where handling beads “opens the throat, wipes away tears and clears the ears,” so the bereaved can once again, see, speak, and hear clearly. Sadly, Sam passed into the spirit world on 8 March 2024. His legacy will live on in the beautiful works he created.
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
For over a decade, Nazon has created celestial beadwork designs that blend traditional beading techniques with her fascination with images from the Hubble space telescope. The abstract nature of the celestial photographs allows the artist to be more interpretive. With a mixture of representational and stylized aesthetics, she can incorporate different materials such as caribou bone and willow seeds, that have location-specific significance.
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
Inspired by a wool eye dazzler rug woven by his grandmother in the 1970s, Wilson made his rug with 76,050 4mm glass beads, taking over 1000 hours of artistic labour. The work speaks to the notion of digital arising from both human hands and new media. At the centre of this classic handwoven Navajo rug design, two central QR codes link to short videos that affirm the continuance of Diné cosmologies and ecologies as well as the multi-dimensional and interconnectedness with earthly, celestial, human and spiritual relations that Indigenous peoples carry.
This contemporary coat, with matching hat, muff and boots, was inspired by traditional Metis clothing and Farandole, the artist’s 2011 international collaboration and touring exhibition with Breton designer and embroidery artist Pascal Jaouen. Here, Krauchi’s exquisite Metis florals and skillful construction transform the classic man’s capote and jaunty smoking hat into a fashionable woman’s wear. The muff is based on the tabbed fire bag, which once carried essentials for survival. Our elegant lady is prepared for a harsh winter.
This group of works honours the artist’s late mother and collaborator, Lorna Hill. They beaded together and embarked on ambitious community art projects together for thirty-five years. Thoughtful creation became personal condolence, a contemporary version of the ancient Wiping Away the Tears Ceremony, where handling beads “opens the throat, wipes away tears and clears the ears,” so the bereaved can once again, see, speak, and hear clearly. Sadly, Sam passed into the spirit world on 8 March 2024. His legacy will live on in the beautiful works he created.
In 2012, as an act of empowerment, Koski began beading over small kitsch figures depicting stereotypes of Indigenous Peoples, commonly found in tourist shops, toy store and theme parks. Ussing a technique called bead weaving, the artist wraps these co-called “native dolls” in a protective armour against the clichéd biases related to the inundation of such figures, leaving only their eyes revealed to gaze back at their observers. Koshi’s figures offer the viewer much to contemplate.
Speaking to strength of tradition and one’s ancestors, these Apsaalooké-style beaded cuffs are made from layers of Kevlar ballistic fabric, a material five-times stronger than steel. Not unlike the cuffs adorning the wrists of the Wonder Woman character (of past and present), these too are bullet proof, protective fashion accessories for facing colonialism and its perpetrators.
Zuni beadwork evolved from tourist souvenirs to delicate figure that ae meticulously and painstakingly beaded, one seed bead at a time. Here, the artists have used the traditional peyote stitch to depict and reimagine pop culture superheroes – like Batman, Marvel’s Black Widow and Black Panther, and even Minion Hawkeye and Hulk.
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
Woven from more than 54,000 Delica beads, this multi-faceted form presents 20 different stories including walleye fishing, Aunties at the Bingo Hall, picking, gathering maple sugar, snowshoeing under northern lights, a wake ceremony, and legends of the birch tree. One panel, bordered by the distinct stripes of the Hudson’s Bay Company blanket, is left blank to honour missing and murdered Indigenous women and girls.
The grass dance has been a part of my Dad’s family for nearly a century. Miyek’suya is the voice of male family members who went missing . . . murdered. Growing up, my father often spoke of their kindness, generosity, humility and Humour. Miyek’suya’s dancing clears the path and honours our relatives. Every detail of him has meaning. He wears a black painted streak across his eyes to remember we are and will continue to be warriors. Ceremony colours represent my family beliefs, and the red handprint honours the MMIW movement. The beadwork designs were inspired by my grandmother, Rose Ponicappo Kakenowash. Giizaagiin James.
This is what my best friend made for me after her visit to the Tate Modern, she said there was something very similar she saw there.
By using the form of a bandolier bag, worn in Anishinaabe ceremony and often gifted to respected people, Ace pay tribute to Alain Brosseau, a young waiter at the Chateau Laurier Hotel in Ottawa, who was brutally attacked and murdered by homophobic thugs while returning from work in August 1989. This violent hate crime shocked and galvanized Ottawa-Gatineau’s LGBTQ+ community. Ace memorializes Brosseau, while asking viewers to look more closely into local histories, and question what stories are readily available, and why others are obscured.
The only animals I see lately are cats and dogs. I thought this might be a little more colorful. He came home with me from Mexico many years ago.
Drawing on Indigenous teachings, knowledge and ways of making, Judy Anderson creates work in tribute to the people in her life. She created this work to honour her brother, who was taken in the Sixties Scoop. Her entire family helped to complete the piece as they commemorated their loss. Anderson states: “this served as a reminder that grief is not carried alone, an idea that affirms nehiyaw belief in the importance and centrality of familial relationships as rooted in sharing with and supporting one another.”
By using the form of a bandolier bag, worn in Anishinaabe ceremony and often gifted to respected people, Ace pay tribute to Alain Brosseau, a young waiter at the Chateau Laurier Hotel in Ottawa, who was brutally attacked and murdered by homophobic thugs while returning from work in August 1989. This violent hate crime shocked and galvanized Ottawa-Gatineau’s LGBTQ+ community. Ace memorializes Brosseau, while asking viewers to look more closely into local histories, and question what stories are readily available, and why others are obscured.