Communities

sharai mustatia is a Métis/Romanian artist whose work is shaped by their journey of healing through intergenerational trauma. As a mother who was coerced into giving up two children for adoption, their art explores survival, loss, and a search for belonging. Through analogue photography and experimental techniques, sharai's images are emotional and spiritual reflections, layered with meaning, healing, and processes of reconciliation with past and present. At the heart of sharai's work is a desire to connect - not only with themselves but with others who may share struggles through grief and loss. As sharai explores their ancestral roots, their understanding of where they come from informs how the past affects their own life. sharai's art of visual storytelling becomes a path of potent self-forgiveness and reclaiming pieces of themselves thought lost. "KEEP GOING" is a space of healing, self-discovery, and a reminder that transformation, growth, and belonging are attainable.

Curated by Melanie Monique Rose Nisto is the Cree word for "three", which holds abundant cultural, religious, and spiritual significance throughout Treaty Territories 4 and 6, Abya Yala 1, and across the world. The braid, made of three strands, carries teachings of the unity of mind, body, and spirit, and connects us to our ancestors and heritage. Artists Cristian Barreno (Maya K’iche’), Maria Rose Sikyea (Yellowknives Dene), and Emma Noyes (Sinixt) are three Indigenous artists rooted both in their homelands and in diaspora, with deep connections to water, sky, and land. Their families lived here long before the names "Canada", the medicine line, borders, or walls existed. Indigenous peoples had lifeways, paths, and relationships sustained through trade, celebration, and war. For example, before Canada declared the Sinixt 2 "extinct" in 1956 and before the creation of the Canada - US border, they freely harvested and hunted on their ancestral homelands. In 2021, their territorial rights were restored, yet they still face obstacles crossing the border to return to their homelands. Despite the enduring challenges of colonialism, these three artists affirm their presence and relationality through their work. They honor, celebrate, and assert that they are here, always have been, and always will be. 1Abya Yala: the entire land mass currently known as North & South America 2Sinixt: descendants of the Arrow Lakes people, West Kootenays

This body of work highlights the diversity, beauty, importance and plight of northern Saskatchewan muskegs, land that is being threatened with strip mining. Peat mining involves draining the water out of the muskeg then mulch the cover vegetation (sundews, pitcher plants, Labrador tea, black spruce, birch, willows, alders, cranberries, bunchberries, cloudberries, bog laurel, leatherleaf, and dozens of species of mosses). Muskegs/peatlands are very old landscapes, it takes 10 years for one centimeter of peat to form. It is important to Vanessa’s culture, and to the survival of traditions and knowledge to keep wild areas intact and undisturbed by resource extraction. Many people are unfamiliar with these areas, and this is Vanessa’s way of bringing the muskeg to the public. Vanessa is a Canadian artist of Woodlands Cree and Norwegian ancestry. She is a member of the Lac La Ronge Indian Band and her community is nemepith sipihk (Sucker River). She holds her Bachelor of Arts with distinction from the University of Saskatchewan. Vanessa is interested in utilizing memory, tradition and themes of nature in her work. Land conservation and land sovereignty are at the heart of her work, with her painting and beadwork focusing on the richness of the land, and in turn, the threats to the land.This body of work highlights the diversity, beauty, importance and plight of northern Saskatchewan muskegs, land that is being threatened with strip mining. Peat mining involves draining the water out of the muskeg then mulch the cover vegetation (sundews, pitcher plants, Labrador tea, black spruce, birch, willows, alders, cranberries, bunchberries, cloudberries, bog laurel, leatherleaf, and dozens of species of mosses). Muskegs/peatlands are very old landscapes, it takes 10 years for one centimeter of peat to form. It is important to Vanessa’s culture, and to the survival of traditions and knowledge to keep wild areas intact and undisturbed by resource extraction. Many people are unfamiliar with these areas, and this is Vanessa’s way of bringing the muskeg to the public. Vanessa is a Canadian artist of Woodlands Cree and Norwegian ancestry. She is a member of the Lac La Ronge Indian Band and her community is nemepith sipihk (Sucker River). She holds her Bachelor of Arts with distinction from the University of Saskatchewan. Vanessa is interested in utilizing memory, tradition and themes of nature in her work. Land conservation and land sovereignty are at the heart of her work, with her painting and beadwork focusing on the richness of the land, and in turn, the threats to the land.

The exhibition Wóknaga1, Nakoda for "He Tells His Own Story"2, features paintings by Métis, Nêhiyawak/Nakoda/Anishinaabe/Scottish artist, Dave Pelletier, of môso-tâpiskan3, now known as Moose Jaw. Working within a Woodland School style, Pelletier honours Indigenous intergenerational transfer of knowledge through storytelling within these canvases, while offering his own imagined narratives that play out through the graphic and colourful compositions of animals and figures of Turtle Island. Inspired by the work of Norval Morriseau, Pelletier’s compositions, of stylized, abstracted forms, bold colours and crisp, black outlines and energy lines, offer narratives that speak to the artist’s own search for traditional knowledge and his journey to place himself and connect with his Indigenous cultures. 1 Pronounced WOKE-nah-gah in Nakoda. 2 Translated by Nakoda speaker, Matthew Spencer, May 12, 2024. 3 Pronounced moh-so-TAHP-skun in nêhiyawak (Cree).