Translucent, overlapping forms echo architectural drawings, but their fragile outlines pulse with haunting beauty, charting the emotional landscape we associate with the idea of home.
Articles
Several of the works in this issue consider how the domestic is shaped not only by private life but also by global currents, family histories, and consumer goods, nudging at the conditions that shape how we live, where we live, and with whom we choose to share our lives.
“The Emma Lake Workshops have a loaded history, and many prairie artists are ready to lay that chapter to rest. […] My curiosity was piqued, so I invited Nancy to sit down to demystify the enduring legacy of Emma Lake and how it continues to creep into her art practice.”
“The way these artists leave traces of our culture in their work continues to shape the ways I understand our histories, our present, and our futures. […] None of them are looking to create a clean-cut narrative of Métis culture, and–even better perhaps—they question if there really is one. But they are looking to our future while honouring those who came before us.”
“Studies have shown that each time you remember a past event, new neural connections are made that will change how you recall it next time. We remember our memories, which become copies of copies. This accumulation, where nothing is fixed among the flood of information, and any attempt to hold on mutates the very thing we try to grasp, finds form in Eckert’s work.”
“Emerging first from intuition, then developed along with and through extensive research, much of Clare’s work interrogates the gaze and body politic. Ahead of her solo exhibition at PAVED Arts in Saskatoon in November 2025, I spoke to Clare about her process and impetus to create; her work, which has traced a relief of feminist histories; and her interest in the gendered experience of perception and being perceived.”
“PPE (rituals) is a browser-based iteration of the speculative virtual world Plants Properties Equipment.”
“To know where we are going, we must first remember where we have been. This work is a way of addressing the silence and shame surrounding the experiences of violence of those close to me, of speaking out where they felt they couldn’t, and picking up on the traces of what was left unsaid.”
Following a thread from colonial hauntings to Freudian repression, Jacob reflects on the aftermath of the recent ousting of Wanda Nanibush from her position at the Art Gallery of Ontario over her pro-Palestinian stance, examining what fault lines are revealed by the residual traces left in this wake.
“Elaine Cameron-Weir’s material transformations reference, eschew, and play with these sticky meanings to reveal the invisible traces of power that dance around every aspect of our lives.”
As the conversation unfolds, the two discuss alchemy, medicine, sickness, symbolism, and artmaking in a tender exchange which is both enchanting and artful.