Artist(e)s

Artists

Call for Artist participation (PDF)

Call for Corporate sponsorship (PDF)

We are working on a series of artistic collaborations with local Indigenous and settler artists to inspire deeper discussions about a way forward together. Stay tuned for announcements!

Artistes

Appel à participation des artistes (PDF)

Appel aux entreprises mécènes (PDF)

Nous travaillons à établir une série de collaborations artistiques avec des artistes autochtones et pionniers locaux afin de susciter des discussions plus approfondies sur la façon d’aller de l’avant ensemble. Restez à l’affût!

Belinda Harrow: Unsettled

Excerpt, MJM&AG catalogue (2020) J. McRorie; M. Bessai; Bradbury Brand + Design Experts; G. Garcia-Luna.

By Margaret Bessai

The wildlife in Belinda Harrow’s paintings, drawings, and sculptures are animals and birds that she has encountered, not on a nature hike, but in the city. Known scientifically as synanthropes,1 they are wild jackrabbits, coyotes, gophers, geese, and pelicans that have adapted to urban life. Like Harrow, their home is in Regina, the capital of Saskatchewan, on Treaty 4 territory. Originally, the grassy homeland for migratory herds of bison and the Nêhiyawak (Plains Cree), Nahkawé (Saulteaux), and Nakota, Lakota and Dakota (Assiniboine) peoples, the Prairies have changed dramatically through colonial settlement. In the 1880s, railway development and coercive government policy forcibly displaced Indigenous peoples, animals and plants. The land was surveyed into fields and gridded by roads; towns were planned at convenient intervals along the rail lines; and the territory capital was (somewhat arbitrarily) established where the Canadian Pacific Railway crossed the Pile of Bones Creek. At the capital site, settlers dug a lake out of the creek and created parks, planting trees by hand. Regina and the surrounding farmlands are, in essence, an architecture built following colonial blueprints. Harrow’s images reflect on these spaces and the animal life here, and open a number of questions: How does colonialization and our past shape our present life? What is our role in nature, and in supporting sustainable ecologies? What is our responsibility to the future?

More… (download MJM&AG exhibition catalogue)

About the Artist

www.belindaharrow.com

Belinda Harrow was born in 1971 in Christchurch, New Zealand, but came to Saskatchewan with her family at the age of three. She received a Bachelor of Arts in English from the University of Saskatchewan in Saskatoon in 1993, and began her art studies at the Nova Scotia College of Art & Design, where she completed a Bachelor of Fine Arts in 1996. Harrow went on to earn a Master of Fine Arts from Canterbury University in Christchurch, New Zealand (2005). She has taught at the Design and Art College of New Zealand (2005-2009) and has served as guest lecturer at Tshinghua University School of Art & Design (Beijing, China, 2007) and at the National Institute of Design (Ahmedabad, India, 2009). 

Harrow has worked in a variety of mediums, including painting, installations, sculpture, printmaking, drawing, and fabric. Her work has been exhibited in group and solo exhibitions in Canada, New Zealand, the UK, China, and Thailand. Recently, her work has been the subject of solo shows in Whitehorse (2011) and Dawson City, Yukon (2012). Her work is part of the Yukon Government’s permanent collection.

Harrow has received numerous awards and grants, and in 2000 Harrow represented Canada as the Royal Overseas Travel Scholarship recipient. Harrow has completed artist residencies in Scotland as well as in Canada, including in Whitehorse (2009) and Inuvik, NWT (2010). She is a member of CARFAC.

Belinda Harrow lives and works in Regina, Saskatchewan and is represented by Slate Gallery.

Videos courtesy of Estevan Art Gallery & Museum. Director/Curator Jennifer McRorie interviews Belinda Harrow about her exhibition “Unsettled” while on display at Moose Jaw Museum & Art Gallery.

Melanie Rose: The Flower People

Left: Melanie Monique Rose, The Flower People red/black #2 needle felted wool on wool blanket, 2019 (on loan from SK Arts). Right: Melanie Monique Rose, Coalesce Re-worked vintage Hudson Bay coat, wool and satin hood, needle felted wool, antler and fur, 2017 (on loan from Métis Nation Saskatchewan). Courtesy of OSAC.

Flowers for the People – The work of Melanie Monique Rose in The Flower People

By Jessie Short (Metis artist & scholar) for OSAC

Flowers are ubiquitous the world over, both in their presence in most ecosystems across the globe and in their importance to humanity. Métis artist Christi Belcourt, in discussion with late Elder Max Assinewe, affirms the crucial role of plants, which Max describes as “‘first family’ because all life forms depend on the plant world for survival” (3). Accordingly, pollination ecologist Stephen Buchmann states that “[f]lowers accompany us from cradle to grave” (ix). Flowers, Buchmann continues, “feed and clothes us. Their fruits and seeds keep the world’s 7. 2 billion people from starvation” (ix). As part of the animal kingdom, humans are deeply reliant on these intricate ecological dances that keep us and other plants and animals alive and well. Among the many other ways helpless humans are dependent on the various plants, animals, and elemental beings and natural forces, we starve without flowers. We starve from lack of nourishment, we starve from lack of sustenance, beauty, creativity, food, all of which are important parts of living with some measure of wholeness, of spiritual and social wellness.

Read the whole essay…

About the Artist

https://melaniemoniquerose.com/

The Flower People is a story about me, my family, my people and our connection and relationship to the land, ourselves, and each other. It is derived from the name ‘The Flower Beadwork People’ a name given to the Métis who are well known for their floral beadwork. Felted pieces, combined with the use of collected blankets create a canvas for my personal exploration of identity as a contemporary Indigenous Artist, alongside my Ukrainian heritage. My floral imagery invokes stories of people, place, and the land. Personal, cultural, and universal symbolism are woven into the fabric of my work with an emphasis on movement, colour, and narrative. The slow, process-orientated execution of felting becomes meditative and at times acts as healing and a prayer to my family and community. My most recent works are personal acts of Indigenous survivance & solidarity. (Artist Statement by Melanie Monique Rose)

One of Rose’s pieces of wearable art was recently worn by a member of the Métis delegation to the Vatican in Rome (CBC). Rose currently has a travelling exhibition with the Organization of Saskatchewan Art Councils (OSAC), entitled “The Flower People.” Check out her tour schedule here. OSAC’s online exhibition of “The Flower People” also includes an artist talk and tutorial found here. One of Rose’s upcoming projects is titled “Between Us.” Learn more about it here.  Also be sure to check out her upcoming exhibition, entitled ᑌᐸᑯᐦᑊ.”

Melanie Rose is represented by Assiniboia Gallery. https://www.assiniboia.com/

We would like to thank our corporate and in-kind sponsors of fine arts at CASCA22 Regina: