Art News In Canada – A Yukon artist’s work is getting a national audience with an exhibition at the National Gallery of Canada in Ottawa.
Krystle Silverfox is one of five finalists for the 2022 Sobey Art Prize. Each finalist’s work is now on display in an exhibition that will continue at the gallery until March 12, 2023.
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The award is described as a preeminent prize for emerging Canadian artists, with one finalist from each of five regions across the country, including the Atlantic Provinces, Quebec, Ontario, Prairies, North and West Coast/Yukon.
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In a statement about the exhibition, prize officials said: “This special exhibition is based on the lived experiences of the five aforementioned artists, and the work on display reflects their diverse backgrounds and unique ways of seeing, thinking and being in the world, expanding on what it means to be a “Canadian” artist working on Turtle Island. .
“Multidisciplinary projects encompass a range of creative methods, from performance to activism, installation, sculpture, photography and institutional critique.”
Silverfox, a member of the territory’s Selkirk First Nation (Wolf Clan), grew up in Vancouver and currently lives in Whitehorse, having also lived in Dawson before moving to Whitehorse. She holds a Bachelor of Fine Arts in Visual Arts, a BA in Gender, Race, Sexuality and Social Justice from both universities in British Columbia, and holds an MA in Interdisciplinary Studies from Simon Fraser University.
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“I’m very happy to represent (the West Coast/Yukon Territory),” he said in an Oct. 27 interview.
In his artwork, Silverfox uses different materials, methods and symbols to create conceptual art. She is inspired by indigenous feminism, transnationalism, decolonialism, activism and lived experience, the press release noted.
For the National Gallery exhibition, Silverfox prepared two new works and presented All That Glitters Is Not Gold, which he created as the final work of his MFA.
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All That Glitters is Not Gold is about identity, land and resource mining with the Hudson’s Bay Company deck, which references Fort Selkirk, which had been a trading post and an important site for the Selkirk First Nations. The blanket is torn as a reference to traditional ceremonies. The copper kennels at the bottom of the deck refer to the copper mines in the First Nation’s traditional territories in the Yukon.
As Silverfox stated in the work’s 2021 Yukon Prize nomination, the title is “designed to acknowledge the complex relationship between First Nations and mining companies.” It also has a cedar frame to mimic a hidden tan, and fringes to “ground the piece to the ground.”
Landmarks is a work that contains four black and white images that appear abstract but actually come from his own images.
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His other new work – Copper + Concrete – also uses a blanket, red and torn at the bottom, with concrete blocks on top.
While the creation of each piece involved different challenges and efforts—for example, unpacking a quilt for three weeks can be both laborious and monotonous—one of the biggest challenges with the Landmarks piece came when Silverfox was unable to find a local printer to print and frame their works. .
“It’s complicated,” he said in an interview, noting that he had to print and frame the pieces in Toronto and then transport them to the exhibition in Ottawa.
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When he lived in Vancouver, there was a special photo studio where he could work with photography.
But Silverfox said he, like many people in the North, has been able to seek advice from others and find ways to get supplies and services elsewhere when needed.
As a finalist, Silverfox is already guaranteed $25,000. Being named the winner would bring her a $100,000 prize, in addition to having her work featured in an exhibition. The winner will be announced on November 16.
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While Silverfox waits for the Sobey award to be announced, he is also looking ahead to his next big project, an exhibition scheduled for November and December 2023 at the ODD Gallery in Dawson.
The project includes neon and LED lights as part of a sculpture exhibition themed around the legend Raven Steals the Light, which tells of the raven that brings light to the world.
This project, too, will likely involve working with professionals outside of lighting, which Silverfox said it will soon explore. Roselyn Scott enjoys painting scenes from her home on Vancouver Island and the Australian Outback where she grew up.
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Scott’s artwork is on display at Qualicum Art Supply and Gallery (206 West First Ave.) through the end of July. He said this is his first exhibition. Scott said he approached the painting and asked if he was interested in hanging some of his work.
“I was absolutely over the moon because I never thought my art would go this far,” says Scott, who has been painting for about eight years but has enjoyed creative work such as sewing, quilting and glasswork for much longer.
Scott said he mainly paints landscape scenes, but has recently started painting animals such as horses and sheep. His paintings depict popular local spots such as the English River near Parksville and the Dollymount Trail at Qualicum Beach.
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Many of his paintings are based on photographs, some taken by him and others by friends and family in Canada and Australia. Others come from scenes he finds in books and magazines.
“My husband had a lot of health problems,” she said. “And I started painting and I found that it took me away from all the anxious thoughts about him and just gave me some relaxation and space to myself.”
He began painting in retirement after moving to the island from Vancouver in 2006. She and her husband had been interested in golf for several years and visited Qualicum Beach on vacation. The city’s reputation for an active retirement lifestyle made it an attractive place to move to. Realizing he needed something to keep him busy during the winter months, Scott began taking art classes.
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Currently, she enjoys a Wednesday afternoon gathering of artists at the McMillan Arts Center (MAC) in Parksville, where participants can give each other constructive criticism and improve their craft.
“I was flying with an Australian airline at the time and I’d had enough,” Scott said. “And a girlfriend came here and it started as a typical Australian start to a working holiday and we came to Vancouver and met my husband in Vancouver and stayed. I’m sure that’s true for a lot of Australians.
Since then, he has traveled back to Australia’s west coast about every three years, except in recent pandemic years. Scott said he looks forward to returning for a visit this fall. In the Canada Council for the Arts’ new exhibition, “Looking the World in the Face,” the so-called “other” is looking at you.
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Looking the world in the face challenges the very concept of “Canadian art”. Photo courtesy of the Canada Council for the Arts
For years, the Canadian art world was not representative of the country: art collections and museum walls were filled with works by white artists, mostly men.
But these works do not reflect the makeup of Canada, nor do they represent the wide range of art produced by non-white, non-male artists.
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A new exhibition at the Canada Council for the Arts on Elgin Street in Ottawa called Looking the World in the Face sheds light on this one-dimensional view.
It is full of faces of people and characters who are often so-called “others”, says superintendent Amin Alsaden.
The exhibition begins with a work by Norval Morriseau and moves chronologically to other artists’ works completed in the previous year.
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Indigenous artists represent about a third of the exhibition, including Inuit artists and artists from various First Nations.
“I think it speaks to the presence of Indigenous artists in Canadian art,” said Amy Jenkins, director of the Canada Council Art Bank.
The art is varied and diverse, based on each artist’s cultural tradition and experiences. The works range from Haida masks to powwow dancers and South Asian children on a paper trail to a black woman wearing a mask made of tropical fruit.
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Barry Ace, an Ottawa-based artist and debendaagzijig (citizen) of the M’Chigeeng First Nation, is one of the artists in the exhibition.
In Looking the World in the Face, curator Amin Alsaden focuses on indigenous and “contemporary” artists as a statement of defiance.
Is part of a series called Super Phat Nish. It features his character, Super Phat Nish, representing Batman and explaining to Robin the endless consumerism of pop culture.
Vancouver, Canada. 16th Jan, 2020. A
Anishinaabe (Odawa) artist Barry Ace turns Native stereotypes upside down to dispel them in his Super Phat Nish series. Photo courtesy of Barry Ace
Made in the mid-2000s, the series is a pop art show reminiscent of Andy Warhol’s work