I am curious about the translation spaces between artistic creative practices and healthcare as away to create room to breathe in containment. I am a doctoral candidate in the Faculty of Rehabilitation Medicine at the University of Alberta. I draw on my artistic practice inprintmaking as a way to create visual translations, expressions, and conversations from past andongoing experiences in academic institutional spaces, as well as clinical healthcare learningspaces.

I use primarily materials destined for the landfill. I employ techniques such as tetrapak etchingand collagraph as accessible modes for creating plates for printing, and create paper forprintmaking out of waste materials such as fabric scraps.This work concerns itself with making room to breathe, and is firmly rooted in the haptic,feminist, and disability justice politics of bell hooks, Audre Lorde, Leah Lakshmi Piepzna-Samarasinha, and Mia Mingus as examples of writers who found ways to oxygenate even in themost oppressive institutional spaces. I am inspired by critical making, and socially engaged artas functional, political, and poetic.

My artist residency at Gather Textiles focused on experimenting with dyes created from kitchenwaste, such as onion skins and avocado pits, and foraged plant materials. I had the opportunityto create dyes and printmaking inks for silkscreening. I am curious to turn some of these dyesinto pigments for suspension in burnt plate oil specifically for intaglio printmaking in the future.I am interested in relationality, both to our materials and process. Some of the questions thatinform my work are about ways we can collectively create art, and creating together as ways togenerate praxis in care. 

I am also half of a collective that makes works and hasconversations around interbeing and community. 

www.axiologyclinic.com

I am a recipient of the Edmonton Artists’ Trust Fund Award. Supported by the Edmonton ArtsCouncil and the Edmonton Community Foundation, this award is dedicated to the artisticdevelopment of Edmonton artists.

As an artist working primarily in printmaking, illustration, and recently photography, weaving has always been a peripheral interest, rather than an integral part of my practice. My goal during my residency at Gather was to integrate weaving into an existing body of work, while challenging myself to learn a new technique-- double weave.

I started out by familiarizing myself with the structure of double weave by completing the 4 and 8 shaft samplers from Jennifer Moore's book "Double Weave." Through this process, I discovered what techniques appealed to me and what I wanted to explore further during my residency. I was particularly drawn to the checkerboard pattern and its variations, which allowed for the most colour vibrancy, while also creating these fun little pockets and tubes within the structure..

In my first piece after the sampler, I experimented with making large pockets that I stuffed with discarded wool from the nearby skirting table. I could see this technique being used to create a garment, like a quilted vest! At this point in my residency, I was completely overwhelmed by the many possibilities that double weave presented, and I had to stop myself from making a pair of pants on the loom, no matter how impractical, just because I could!

In all of my work, I am drawn to textiles and the way that colour and pattern interact to convey emotion and meaning. For my final piece, I took inspiration from the complex and layered compositions of my printwork and reproduced them in a large wall hanging using checkerboard double weave. The result was a trippy, op art like weaving that incorporated new techniques and tactility into my art practice. I’m still figuring out where to take it from here (this isn’t a “finished” work in the photo), but I’m positive that the knowledge and experience I gained during my time at Gather will be a springboard for a new body of work.

@nip_nock

Prior to the residency, my art practice was primarily sculpting with clay and wood and doing mixed media oil paintings with a recent interest in making my own textiles. I began printmaking, screenprinting and block printing on hand-dyed fabric with the goal of eventually learning to weave. 

My practice is focused on my cultural identity as a Jamaican woman of Afro and Indo-Caribbean ancestry. I show the beauty of merging these cultures as well as the complexities of not fitting the mould of “looking Indian” highlighting hair and skin tone, two major factors that affected my sense of belonging to this group as my hair was too thick and skin too dark. Textile has been used in my work to signify each culture sometimes replacing my skin tone.

My goal in entering this residency was to learn a new skill that I could later implement as a part of my practice. I wanted to learn how to make textiles that I could use in my paintings versus only purchasing them. By making them myself I am able to further my research and know more about their origins and how they are made.

I learnt how to weave linen and cotton on a four-shaft loom. I made three samples experimenting with combining the patterns of Okene cloth from Nigeria and Ilkal from India as self portraits of my mixed identity, as well as, two final samples and main pieces that were primarily one culture.

For my final two pieces as with the others, I was inspired by the patterns and techniques of multiple pieces of textiles that I combined into one. I replicated the stripes prominent in Okene textiles as well as the vibrant use of colour. The Okene cloth local name "Ita-Inochi" woven by the Ebira people of Central Nigeria. For my Indian textile I researched Ilkal from the Indian state and chose a check pattern for the body and a decorative border using the colours red, green and gold which are prominent colours throughout Indian culture.

These final pieces will be shown in my upcoming show Desiderium at The Southern Alberta Art Gallery from December 2 to February 12, 2023. I will be using the samples to create new work in the meantime.

Re-Drafting Bodies

This exhibit features a series of patterns drawn from historic garments alongside their muslin recreations. Carefully measuring the original garments, drawing the patterns, and making the recreations served as a slow meditation on the forgotten labour and knowledge required to make clothing. By presenting patterns beside the garments they make, this exhibit invites viewers to consider the relationship between two-dimensional patterns and the three-dimensional bodies they cover.