Opening Reception:
‍July 12, 6 - 9 pm
Artists in attendance
Opening Song by Elder Talenny Heavyhead
Music by MC Good Medicine
Snacks from Kokum's Bannock Kitchen

‍Artist Talk:
‍July 13, 12 - 1:30 pm
Audie Murray and Nico Williams in conversation with Judy Anderson

Dreamcatcher Workshop
July 13, 3 - 6 pm
Led by Letecia Ochoa

Coyote and Crow Night
September 21, 6 - 9 pm
Led by Morgan Black and May Kineyetums

‍Beading Workshop
October 5, 12 - 3 pm
Led by Letecia Ochoa


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Neo-Capitalism Meets Post-Colonialism In The Ikea Food Court
Recognizing colonial extraction through contemporary consumption

For Audie Murray and Nico Williams’ dual exhibition, Eat It Up, the artist’s use identifiable aesthetics to recapitulate how Indigeneity and Land Back can be recognized in and understood through hyper-public spaces, such as retail stores, restaurants, and art institutions.  

Eat It Up is a visually playful exhibition that navigates current settler-colonialism perceptions regarding Indigenous identity and art, specifically beadwork. Using salient references to highly obtrusive yet deeply empty settler creations, such as Ikea and highly decorative cakes, Murray and Williams’ focus the spotlight on how their work is often neglected to be seen as the historically-rich and contemporarily-influential art forms they are. The referential choices directly reflect the extractive relationship settlers have with land and Indigenous communities, and leverage capriciously the darkness of these colonial realities (consumption, excess, greed) against the appearance of fanciful objects (cakes, branded shopping bags) meant to charm viewers. What results is an exhibition that complicates our understanding of how Indigeneity traditionally functions within the public sphere, and challenges viewers to consider how consumption influences the relationships to the world around them.

‍Eat It Up also has a public program component, curated and organized by artist Morgan Black. Black has developed programs that span widely in activity but all are tied to Indigenous storytelling and decolonial narrative practices. These workshops will take place throughout the duration of the exhibition's presentation, and will be open to the public with limited capacity.
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Audie Murray is a visual artist who works with a multitude of mediums such as sculpture, media, beadwork and drawing. Her practice is informed by the process of making and visiting to explore themes of contemporary culture, embodied experiences and lived dualities. These modes of working assist with the recentering of our collective connection to bodies, ancestral knowledge systems, and relationality. Murray is Cree-Métis from the Lebret and Meadow Lake communities located on Treaty 4 & 6 territories and is currently based in Oskana kâ-asastêki (Regina, Saskatchewan). 

Nico Williams, ᐅᑌᒥᐣ is a member of Aamjiwnaang First Nation (Anishinaabe), currently living and working in Tiohtià:ke/Montréal. In 2021, he graduated with a Master of Fine Arts in Sculpture from Concordia University. He has a multidisciplinary and, often collaborative, practice that is centred around sculptural beadwork. Williams is active within the urban Indigenous Montréal Arts community and a member of the Contemporary Geometric Beadwork research team. He has taught workshops at The Massachusetts Institute of Technology, the McCord Stewart Museum, Crown-Indigenous Relations and Northern Affairs Canada, and the University of Toronto.

Morgan Black is a multidisciplinary artist and curator currently living, creating, and connecting on Treaty 7 territory (Calgary, Alberta). Originally from Ts'kw'aylaxw First Nation, Morgan spends her time reclaiming her St'át'imc and Secwépemc culture and making art about that journey. Having recently completed her BFA in Painting and Print Media at the Alberta University of the Arts, Morgan will begin making cultural trips to her ancestral home to continue learning traditional teachings and practices that will influence her artistic practice. Morgan is deeply inspired by our relationships to plant and animal kin, life cycles, patterns found in nature, and conversations with friends.

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Letecia Ochoa is an Indigenous Salvadoran artist from Saskatchewan, whose work is deeply rooted in the themes of reclaiming heritage and cultural pride. As a student at the Alberta University of the Arts, Letecia's creativity is profoundly influenced by their mother, inspiring a unique artistic journey. Primarily working in digital mediums, Letecia is also exploring sculpture, particularly through dreamcatcher making, and printmaking. This blend of techniques allows for a rich and diverse artistic expression.Letecia's art is showcased in various exhibitions, including a current exhibit at the library, and they are an active member of an art collective. Passionate about community engagement, Letecia loves working with others to share their artwork and craft, fostering a deeper appreciation for Indigenous and Salvadoran cultures.

May Kineyetums is a Cree Métis artist born in Moh-kíns-tsis | Wîchîspa | Guts’ists’i| Calgary, to a Dene Métis family. They are currently pursuing an education at allintervals, consistently. Their art practice consists of explorations in decolonial thought and examination of the relationships between matter, place, all beings and systems/institutions. They embrace play, in both the creation of their works as well as their field research.

Gitz Crazyboy is a Siksikaitsitapi and Denesuthline Father, Master of Education, Author, Film Maker, Activist, Youth Worker and Manager of Indigenous Initiatives. He has called a few places home in the Blackfoot, Haudenosaunee and Dene Territories.  After graduating high school, Gitz began working with youth and creating youth-focused programs. Gitz's passion and purpose is helping the next generation and he has held many positions within the youth education profession.  Now armed with a M.Ed. Gitz works on pathways and strategies of bringing two divergent cultures into the ethical space of engagement.

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[Image:
Audie Murray, I recognize the ways you shift insides (Rugoru) (2021)
Credit: Toni Hafkenscheid Courtesy of The Robert McLaughlin Gallery]
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