Common Ground, Indian Ceramics Triennale 2024

in

I was honoured to be invited to exhibit Girmitya Herstories at the Indian Ceramics Triennale with this international group of multi-disciplinary/ceramic artists, all working with the theme of Common Ground, at Delhi’s hottest new gallery, Arthshila. (January 19 - March 31, 2024)

Opening Night Artist Group Photo

Maria Gezler Garzuly Workshop - Kecskemét

in ,

Missive – Maria Gezler Garzuly Printing on Clay Workshop, Kecskemet, October 2-8 2023

Maria Gezler Garzuly

Sharing and learning with mentor, Maria Gezler Garzuly is a powerful, would-nourishing experience.

I met Maria in May of 2018. I was participating in a Hungary/Canada symposium at Kecskemet Ceramics Institute on the theme of Muscle Memory facilitated and invited by Mimi Kokai. There were seven Canadians and seven Hungarians, and we were working very hard to get our exhibition pieces ready within the one-month time allotted. I noticed this tall, yet spritely elderly woman with a lovely blue apron working to glaze a number of large stone-like objects near the gas kilns. I was curious, but Maria was frantic, working with extreme focus and tenacity. Two days later, Maria came to me, and she asked me about myself, and she shared about herself, her life, her work, and her family. We found a natural connection through our mutual love for classical music. I had begun to explore photography on porcelain prior to meeting Maria. A few days later, Maria invited me to come and study with her in her workshop to learn about image transfer and screen-printing. Covid happened, and five and a half years later, October 2023, the universe opened a doorway — Maria’s invitational course aligned directly with the end of my residency at Cill Rialaig in Ireland. I knew it was meant to be. The week was a massive adrenaline shot to my professional development, and a gift that I am so grateful to have received.

Nine women came together under one roof and drank fully of the wisdom, knowledge and expertise of Maria. We began, unexpectedly for me, with printing on glass, and suddenly I was a multimedia ceramics/glass artist! We each chose an image and made our own 8” x 10” silk screens from scratch – stretching the fabric over the frames, and learning under Maria’s careful instruction the magic of emulsification, light and image transfer. Maria taught us that there is no limit to what we can achieve, except for our own imaginations. She also taught me not to rush forward, to be patient, to be precise and to honour accuracy while at the same time allow for spontaneity. The joy of watching Maria create a new work from a shattered set of shards is something I will never forget.

I chose to work with an Irish block print image that was reminiscent of the landscape that seeped into my soul in the south of Ireland. Others brought their existing screens, six of the students are repeat apprentices under Maria’s tutelage. Each shared their images, and the collective ingenuity of the group was also a great learning opportunity. My creative taps are bursting with ideas to explore when I return, many years-worth of inquiry in the studio await me.

We also spent several evenings sharing our creative journeys on the big screen over palinka (vodka-like plum schnapps that is a local specialty). Maria offered us an overview of Hungarian ceramic artists and her work, I shared my work with image on clay, others shared about their life and work, including administrator, Kitti Antel, and our last guest, the mentor starting a workshop the following week, David Binns from Wales, illuminated us with his impressive research, creation and “green” recycling industry glass/ceramic work.

I had two days at the end of the course, and the warmth and openness of the group did not let me down. A fellow student from Austria offered to drive me to Maria’s hometown of Szombathely, the oldest city in Hungary, settled by the Romans in the 2nd century. Five of us arrived in virtual tandem, and spent a rare and enraptured afternoon at the Szombathely Keptar, revelling in Maria’s solo retrospective exhibition, Drama in the Garden. Maria has donated the works to the museum, and this is to become a permanent exhibition – the culmination of a lifetime of love, passion, loss, pain, curiosity, joy, rendered through Maria’s lens and life experience. Words are not enough.

We were then treated by Maria to a visit in her home and her studio, stories of her family, of the war and of the Revolution. Maria’s generosity and hospitality is overwhelming.

I am honoured to have eight new friends and colleagues in clay, and to glimpse but a fraction of the genius of Maria Gezler Garzuly.

I would like to thank the Ontario Arts Council for supporting in part, my participation in the workshop with Maria Gezler Garzuly in Kecskement, Hungary.

IRELAND: Cill Rialaig, & Much More!

in ,

Cill Rialaig is a miracle of a place on the southwestern cliffs of county Kerry in Ireland. It was born out of the will power and vision of 80-year-old Noelle Campbell-Sharp who formed a conservation committee and renovated eight 1790 pre-famine cottages thirty years ago. Noelle is a force of nature unto herself – a former magazine media mogul, she is dedicated to the over 6000 artists who have donned the doors of Cill Rialaig. I have had the privilege to stay in one such cottage with the best view of the cliffs, and a generous skylit studio space for the past two weeks. The people of Kerry are warm a kindly folk. While I have spent much time in silent solitude, wifi-free, reading, writing and beginning to hone my 2D painting skills with acrylics – I have also enjoyed getting to know a handful of kindred spirits here, perhaps a third to half of the artists who rotate through the cottages, and formed friendships quickly and with ease.

The highlight of my time here was taking advantage of a glorious sunny day, the stars aligning, and heading out for four and a half hours with a local archeologist in search of 5000 year-old petroglyphs. She took us to a spot that she knew well, and we easily found a dozen or so fairly stunning examples of rock art on the boulder strewn meadows of Glenbeigh, about an hour’s drive north. Then she asked us (I was with two American artists at the retreat) to wander about and find petroglyphs. And I did! I discovered a rock that had not been registered or recorded before. It’s a significant finding, with little to no lichens, which means that the peat had recently cleared from its surface. My eye counted at least eight circles and a straight line joining a few of them, concentric and small stacked “figure-8-like” chiselled markings within larger circles. Our guide was taken aback, as no visitor had ever discovered new rock art before. She contacted me the next day to get my particulars and my photographs for the national monument registry. I have truly left my mark in Ireland!

I have struggled with a sense of insecurity – and it was virtually impossible to break free from the drive to render the land with paint – but once I let go of the urgency to create something with a semblance of realism, I was able to flow with my true heart’s calling, abstraction, and then overlay the works with sand-paintings of the petroglyphs, actual transcriptions from my photographs.

Another highlight has been getting to know Stephen and Alexis O’Connell – a couple of production potters who set themselves up a mere four years ago, and are working full-time to supply a few Micheline star restaurants and chefs in Ireland. They work with ash and minerals making subtle minimalist work that appears to be atmospherically fired, yet brilliantly all fired in electric kilns! We had a couple of great visits and found that, yet again, the world is a tiny vessel indeed: Stephen was in Delhi last year and was guided in his pursuits by my former mentor, Mini Singh! Alexis is from Australia, all sorts of points of connection, and many shared values. Good people.

Stephen and Alexis O’Connell @ Fermoyle Pottery

When I felt as if I had put in a day’s work in the studio, and rain was not driving down on my skylights, I rewarded myself with a little excursion to see some local ruin or small town, or to take in the salt air of the sea. I was gifted many angels on my journey – artists who know the land well who guided me to find the ancient monastery ruins, the standing stones, and literally gave me the lay of the land. I am thrilled to find myself in the global communications capital of the 19th century, where the first transatlantic cables made contact with Heart’s Content, Newfoundland the 1850’s. I walked the shores of the cable stations and my heart leapt to be filled with the scent of the Atlantic – the wind whipping through every nook and cranny of its cragged landscape. I couldn’t help recall my time growing up in New Brunswick and all the times we ventured to the coast. There is a real sense of home, but not home. The small mountains with sheep grazing within the confines of their respective stone fences take me back to when I was a wee lass, and our family lived in Edinburgh for a year. However, the glory of these glens, cliffs, islands and rockface are like nothing I have experienced before. Today the power of the ocean reared its fierce fury against our cliffs – I’m going to estimate the spray reaching over 40 feet!

Before I came south to Kerry, Ali and I covered a lot of ground in Belfast (warmly received by fellow ceramic artist, Michael Moore); the Antrim Coast (welcomed by our new Trinidad friends, Pat Mohammed and Rex Dixon in their seaside home); we visited the UNESCO site, the Giant Causeway, and its impossible basalt stone formations, walked the forests, and gallery hopped in Dublin on our 25th wedding anniversary. Ali also spontaneously stopped in Linsburn for the International Festival of Linen – modelled after the one in Quebec where I showed a few years ago, Biennale International du Lin de Pont Neuf. I connected with many people there and took in the deep history of the place. I am working on a textile piece that I will send back to be part of the 2025 group project – the Longest Linen Tablecloth in the world, sewing my ancestors into the tapestry of their homeland. We did visit Armagh, from whence the McMenemy’s hail, and I have many leads to follow up to find out more. We ended up having a lovely connection with the guide at St. Patrick’s Cathedral, and wandered into the city’s annual Cider Festival, to take in live music and all-round top-notch people watching. We took the train to Kilkenny and met Tina Byrne at her recently established ceramics residency, Strata – and have bookmarked this piece of heaven as a place to return to as well.

The trip has been life-changing. Something in me feels more grounded and connected to a sense of where I came from, the land my mother’s ancestors would have toiled. I feel like a spec of sand on the beach of Ballenskelligs, one of many trillion, but all part of one.

I would like to acknowledge the support of the Ontario Arts Council in making this dream a reality.




AGO Review of Reclaimed: Indo-Caribbean HerStories

in

In her mixed-media ceramics-based exhibition, Heidi McKenzie enshrines collective memory

By Simone Aziga

Indo-Caribbean herstory at the Gardiner Museum

In her mixed-media ceramics-based exhibition, Heidi McKenzie enshrines collective memory

By Simone Aziga

Heidi McKenzie. Bangle, 2023. Stoneware, porcelain drybrush, glaze, silver acrylic pen. 18" x 26" x 8". Photo: Toni Hafkenshied.

Some stories are told and re-told, yet still not widely known as they should be. In her solo exhibition at the Gardiner Museum, Heidi McKenzie aims to change that for Indo-Caribbean women, bringing centuries-old herstories into focus through a feminist lens. On view through August 30, McKenzie’s mixed-media, ceramic-based work is a record of the past and present lived experiences of Indo-Caribbean women from the mid-19th and early 20th centuries through to today. The Toronto-based artist is of mixed Indo-Trinidadian and Irish American heritage and explores themes of ancestry, race, migration, and decolonization through her practice. 

Installation view of Reclaimed: Indo-Caribbean HerStories. Gardiner Museum, 2023. Photo: Toni Hafkenscheid

As explained in the exhibition, 1833 was the official end of the legal trade of enslaved people in the British Empire. This shift resulted in the rise of indentured labour in the British colonies, particularly among Indian people. Of the estimated half-million Indians who migrated to present-day nations such as Trinidad and Tobago, Guyana, Jamaica and more with the promise of a brighter future, it is further estimated that 20 percent of these indentured labourers were women. These women, sometimes widowed and often seeking refuge from situations in their homeland, came to be referred to as “coolie belles”. As featured in Reclaimed, they were photographed in archival studio photography and postcards of time, left nameless with little personal details. The ornate jewellery they wore in these photographs signified status, cultural expression, and currency. The jewellery “became associated initially with the labouring classes and, more recently, with craft-based ties to matrilineal heritage.” Indentured labour continued in the Caribbean into the early 20th century until 1917.

Installation view of Reclaimed: Indo-Caribbean HerStories. Gardiner Museum, 2023. Photo: Toni Hafkenscheid

With poetic sensitivity, Reclaimed connects these women through archival and family photographs to their descendants based in and around Toronto. Included and on view are “wall-mounted portraits on porcelain, lit from behind, depicting contemporary Indo-Caribbean women with portraits of a female ancestor; a collage of “coolie belles” on porcelain windowpanes, inspired by turn-of-the-century postcards and ephemera; and a series of abstract figurative sculptures that respond to the work, alongside select pieces of Indo-Indentureship silver jewellery.”

Heidi McKenzie. Coinage, 2023. stoneware, porcelain drybrush, steel stands. 56" x 16" x 2". Photo: Dale Roddick

“Following the ideas of cultural theorist Arielle Azoulay,” McKenzie explains in the exhibition, “my work engages the socio-political landscape of my Indo-Caribbean ancestors, purposefully shedding light on the under-represented stories of Indo-Caribbean women. The ‘coolie belle’ portraits were shot on glass plates by male colonial photographers and hand-processed. The postcards were exoticized and commodified for Western tourists at the turn of the last century, hardships erased. My process of transferring portraits to ceramic tile is an act of both reclamation and decolonization. The courage and defiance of these women uplifted their ‘new slave’ status, as they fought for better working conditions and increased wages. They wore their savings on their bodies, jewellery fashioned from their earnings. I also give voice through portraiture to us, we, the descendants of the ‘coolie women,’ to reclaim our herstories.”

Heidi McKenzie, Looking Back: No. 1, 2023. Ceramic pigment photo decals fired onto hand-rolled porcelain, cedar frame, hardware. 24" x 18" x 3". Photo: Dale Roddick.

The exhibition is also accompanied by a series of video herstories by contemporary Indo-Caribbean women: Lancelyn Rayman-Watters; Talisha Ramsaroop; Ramabai Espinet; Suzanne Narain; Kamala-Jean Gopie; Preeia Surajbali; LezLie Lee Kam; Shanta Saywack Maraj; Cheryl Khan and McKenzie.

Reclaimed: Indo-Caribbean HerStories is on view in the lobby of the Gardiner Museum until August 30.  

Reclaimed: Indo-Caribbean HerStories

in

My solo exhibition Reclaimed: Indo-Caribbean HerStories is at on the main floor of the Gardiner Museum, May 4 - August 27. To view the opening remarks on May 3rd, view this link.

East wall, Main Floor, Gardiner Museum. All Images photo credit: Toni Hafkensheid.
CLICKTHE VIDEO HERSTORIES BELOW for 3-minute videos of each of the ten women locating themselves in the diaspora and telling us a story of their female ancestor.

Artist Statement

I grew up in Fredericton, New Brunswick, the daughter of an Indo-Trinidadian immigrant who married an Irish-American woman—a brown face in a sea of white. My lived experience propelled me to engage with issues of race, identity, and representation. I began working with sepia-toned, iron-oxide rich archival photography on ceramic, rendering my father’s life and telling the stories of his ancestors. I persisted in using ceramic material in the production process, fusing coloured ceramic pigments onto hand-rolled porcelain.

Following the ideas of cultural theorist Arielle Azoulay, my work engages the socio-political landscape of my Indo-Caribbean ancestors, purposefully shedding light on the under-represented stories of Indo-Caribbean women. The “coolie belle” portraits were shot on glass plates by male colonial photographers and hand-processed. The postcards were exoticized and commodified for Western tourists at the turn of the last century, hardships erased. My process of transferring portraits to ceramic tile is an act of both reclamation and decolonization. The courage and defiance of these women uplifted their “new slave” status. They wore their savings on their bodies, jewellery fashioned from their earnings. I also give voice through portraiture to us, we, the descendants of the “coolie women,” to reclaim our herstories.

This panel discussion and community feedback session was recorded live on June 14th at the Gardiner Museum. Moderated by Alissa Trotz, U of T, and presented by Ramabai Espinet, U of T, Nalini Mohabir, Concordia, Joy Mahabir, Suffolk College, New York

Curatorial Statement, Sequoia Miller

Stories of Indian migrants who came to work on Caribbean plantations from the 1830s onward are often little-known. Toronto-based artist Heidi McKenzie explores the stories of Indo-Caribbean women and their descendants in Canada, including her own family, by reconsidering archival imagery and traditional jewellery forms through the lens of photography on translucent porcelain.

The end of the legal trade in enslaved people in the British Empire in 1833 prompted the immediate rise of indentured labour, particularly among people from India, in the Caribbean. An estimated half-million Indians migrated, often under dubious circumstances, to the plantations of the British colonies where they worked alongside formerly enslaved people of African descent. Among these, scholars estimate up to 20 percent were women, often widows or others escaping untenable situations. Archival studio photography from the late nineteenth and early twentieth centuries documents these women, showing them bedecked with ornate, layered jewellery. Worn to assert status, as cultural expression, and as a form of currency, such jewellery became associated initially with the labouring classes and, more recently, with craft-based ties to matrilineal heritage.

Reclaimed: Indo-Caribbean HerStories takes inspiration from archival and family images to explore how descendants of “coolie belles” in Canada today connect to stories of their matrilineal ancestors. While clear documentation exists for some women, the archive is scant for many, prompting speculative or artistic ruminations on how traditions and identities are both passed down and created. The three primary elements of the installation—ceramic sculptures viewed alongside historical jewellery; contemporary portraits printed on translucent porcelain; and archival images on porcelain suspended in frames—use a feminist lens to explore these stories in different ways.

Part of the Scotiabank CONTACT Photography Festival, this exhibition highlights the complex, longstanding, and often unpredictable interplay between ceramics and photography.

I would like to acknowledge the support of the City of Toronto.

Underneath Everything: Grandeur & Humility in Contemporary Ceramic Arts

in

I am humbled to have been invited by curator, Mia Laufer at the Des Moines Arts Centre, Iowa, and to have my work, Division, exhibited with this artist list: Ai WeiWei, Katayoun Amjadi, Eliza Au, Sally Binard, Paul Briggs, Candice J. Davis, Edmund de Waal, CBE, Theaster Gates, Donté K. Hayes, Simone Leigh, Ingrid Lilligren, Anina Major, Heidi McKenzie, Magdalene A.N. Odundo, DBE, Vick Quezada, Ibrahim Said, Rae Stern, and Ehren Tool

“Clay is the humblest of materials, it is underneath everything...You can manipulate of world with clay.”
— Theaster Gates

IM Pei Gallery - second part of the exhibition

The main gallery of Underneath Everything

tRaces: Lines, Lives, Loves

in

When Jennifer McRorie, Curator at the Moosejaw Museum and Art Gallery called and asked if I knew Jeannie Mah and was I interested in a two-person show, I didn’t hesitate. Jeannie and I had been scheming to do a show around our father’s as daughters of immigrants. The exhibition opened May 26th and runs until September 3, 2023 concurrently with by solo show, Brick by Brick: Absence vs Presence and Jeannie’s solo show, Invitation au Voyage.

Jeannie Mah, Heidi McKenzie with First Wave (foreground) and Head Tax (background)

Jeannie Mah and Heidi McKenzie are two established Canadian ceramic artists whose paternal ancestors’ lives directly intertwined with migration and immigration from China and the Caribbean via India, respectively. This exhibition is a portrait of these racialized narratives through ceramic works that incorporate archival image and document each artist’s family, with particular attention to the artists relationships with their fathers and the impact of intergenerational transcontinental journeys in their lives.

Mah’s multimedia, ceramic installations, featuring in situ drawings, video, and snapshots on porcelain vessels presented in composed series, speak of family history, social history and ceramic history, allowing her to traverse or bridge the geographical and metaphorical distance between her family’s motherland, China, and her home, Regina, by way of montage and imagination.

Mah’s work, Head Tax, seeks to mark the 100th anniversary of the Chinese Exclusion Act, which, in 1923, closed the door to all Chinese immigration until 1947. The Exclusion Act replaced the “Chinese Head Tax” which Canada imposed on Chinese immigrants starting in 1885. Mah’s father came to Canada alone in 1922 at age 12, one year before the Chinese Exclusion Act. His village paid the head tax of $500, now the equivalent of $8500, to send a son to “Gold Mountain”. His debt would be to repay the village from his net earnings. Returning home to marry in the 1930s, Mah’s mother and brother remained in China until 1950. ‘Ghost' images of Paul Mah’s (Mah Ying Poi) head tax certificate and a pattern detail of Blue Willow Bridge ware drawn directly on the gallery wall, ‘ghost images connect snapshots on porcelain pots of the artist’s family in China with those in Canada - all framing her father’s life in Canada, narrating a family story of lives bridging two continents. Mah explains, “As a Canadian child of immigrant parents, I have never ‘returned’ to China, so my research into Chinese porcelain is filtered through the European lens of art history. As I meander towards the Far East by way of museums, the historic object acts as a bridge to transport ideas and cultural values, via artifacts of the past to us in the ‘new world’ of the present.”

Mah‘s connection to China through museums and popular images is addressed in the work, From Mao’s House to Our House, speaking to the complexities of identity as insider/ outsider and native/ tourist. Images on five vessels montage several histories and narratives together: the Mah family in Canada – in front of their house and family store in Regina, their return to China as tourists in the 1970s and posing in front of Mao’s house in Shaoshan, Hunan. These images are flanked by Jeannie playing tourist in the Metropolitan Museum in New York, on both ends. Mah, as museum visitor, is presented as diminutive in front of Warhol’s pop culture icons of Mao, suggesting a disconnect or distance from the history of the Cultural Revolution.

In the video projection/installation, I am Blue Mikado, Mah plays with her Asian identity, “travelling towards the East by way of English bone china”. By isolating two figures in a landscape featured on a Royal Crown Derby, Blue Mikado dinner plate, Mah inserts herself into the scene in a poised and centred porcelain vessel, superimposing her own Canadian-born, southern-China face into a Japanese scene re-imagined by 19th century potters in Derby, England. In the drawn traces of a Blue Mikado dinner plate on the gallery wall and an overlaid video projection that fades in and out, Mah alludes to the history of European Chinoiserie, of cross-cultural appropriation and reinterpretation of blue-and-white porcelain driven by global trade and consumer desire for the exotic.

Heidi McKenzie’s mixed-media, ceramic installations feature sepia photographs printed on porcelain forms and video projection to speak of family history and the stories of her ancestors, and negotiating her own hybrid identity as a person of mixed Indo-Caribbean and Irish American ancestry. McKenzie’s father, Joseph Addison McKenzie, immigrated to Canada from Trinidad in 1953 at the age of 23, before Canada repealed its whites-only immigration policy in 1969. His ancestors crossed the seas from India to the Caribbean in the mid 19th century as indentured workers, who replaced/displaced the African slaves. Trinidad’s National Archives released the ships’ manifest to the public in 2020 to mark 175 years since arrival. The manifest graces the sails of her work, First Wave, which also features coins of British India from the time of this migration.

Illuminated, which features archival postcard images of “Coolie Belles” of the Caribbean, addresses the extreme hardships of Indo-indentureship and its harsh labour, while also speaking to the colonialist exoticism of Indo-Caribbean women on 20th century postcards - plantation labourers costumed and photographed in studios for the sake of Western tourism. McKenzie’s own great-great grandmother, Roonia, sailed from Calcutta to Guyana in 1864 and worked the sugar cane fields, a Hindu woman who married and raised four children on a plantation in Guyana near Suriname. She explains, “It was crucial for me to give voice through portraiture to us, we, the descendants of the “coolie women,” to reclaim our herstories.”

Works, such as House of Cards and Body Interrupted, document McKenzie’s father’s journey, growing up in Colonial Trinidad and his struggle to find his place as an immigrant of colour in Canada. Body Interrupted also speaks to her father’s perseverance, strength and determined will to survive that not only served him in establishing a life in Canada where he thrived, but aided him in his struggle with multiple terminal diagnoses later in life. The video projection/ installation, Lurking, offers an intimate portrayal of McKenzie’s close connection with her father, alluding to the building blocks of DNA and a genetically inherited condition passed through her father’s familial line that is statistically more prevalent in women from India.

Mah and McKenzie’s ceramic works address the personal, the familial, the cultural and the political, tracing the stories of their own immigrant families and the complexities of their negotiated identities as first-generation-born Canadians. Through the conceptual richness, elegant sincerity, and playful irony of their works, the artists reclaim and assert the narratives of their lineages and cultures through their own re-imaginings, and, in doing so, they expose little-known histories of racism and continuing legacies of colonialism.

2-minute video tour of the exhibition by Heidi McKenzie

OPENING RECEPTION: Gardiner RECLAIMED: Indo-Caribbean HerStories

in , ,

My exhibition, over a year in the making from concept to creation, opened at the Gardiner Museum on May 3rd, 2023. The video of the remarks by Chief Curator, Sequoia Miller and myself below:

#CripClay @NCECA Cincinnati 2023

in

#CripClay was a concurrents exhibition of disabled artists by disabled artists at NCECA 2023 in Cincinnati. Disability does not mean an artist cannot be successful or a valuable member of a community; this is not a one size fits all abled-bodies only medium. Disability is the only minority group that anyone can join at any time. Let’s show what we can do.

Exhibiting Artists: Victoria Walton, Carly Riegger, Amanda Barr, Heidi McKenzie, Eva Polzer, Darcy Delgado, Ze Treasure Troll, Annie B Campbell, Allee Etheridge, Megan Whetstine, Elizabeth Peña, Samantha Wickman, Alicia van de Bor, Topher Surnome, Zys West, Coco Raymond, Felicity Jacques, Hayley Cranberry, Kelvin Crosby

I would like to thank the OAC for Exhibition Assistance Grant.

Disruption A-Space Gallery Spring 2023

in

Disruption, A-Space Gallery March 11th - April 22, 2023

This exhibition investigates how four women use their practices to disrupt a predominantly white, male, Eurocentric art narrative. This exhibition is part of the larger project to deconstruct society’s racist and sexist structural underpinnings with the aim of building a new foundation of multiplicity. Natalia Arbelaez, Magdolene Dykstra, Habiba El-Sayed, and Heidi McKenzie work to fashion a more egalitarian canon through artistic practices that delve into diverse histories. Arbelaez and McKenzie draw our attention to narratives that have long been overlooked. El Sayed and Dykstra use abstraction to subvert the spectator’s gaze, while simultaneously insisting upon their visibility.

…Heidi McKenzie’s ceramic sculpture First Wave (2021) grounds the exhibition with the history of labour and migration….Heidi McKenzie’s lantern series, Illuminated (2020-2021), highlights the use of photography as a tool for building empire….

— Maya Wilson-Sanchez

Ceramics Monthly Feature: Mixed Clay & Color

in
Ceramics Monthly Feature: Mixed Clay & Color

When Heidi McKenzie was 9 or 10 years old, a school assignment required her to write a message-in-a-bottle account of herself. Fortunately, the message was not put into the Bay of Fundy near McKenzie’s home in Fredericton, New Brunswick, Canada. She kept it. Chapter 14, “My Plans for the Future,” begins with text and a drawing that portend a career in ceramics.


Read More

Atlantic Vernacular:Poetry in Motion: →

in
Atlantic Vernacular:Poetry in Motion:

Artists here often metaphorically and literally interweave elements of the local environment into their practices, reflecting strong affinities with our shared ecology. We look to the ocean, the forests, our scrappy cities, and climactic extremes as the raw material for creating works.

— Gillian Dykeman, Atlantic Vernacular Exhibition Curator

Read More