Say hello to the class of 2018/19!
NAT chantel is a primarily self-taught artist who engages repetitive processes to recall memory and personal history as a way to reclaim the body and voice. NAT has a Bachelor of Arts Degree in English Literature. Through mentorship with interdisciplinary artist Kate Ward, NAT was selected into the 2017-2018 VANS Mentorship Program, and the Summer Professional Development Residency with NSCCD (2018.) She is a Nova Scotia Talent Trust scholarship recipient (2017 & 2018) and an active member in Black Artists Network of Nova Scotia, Visual Arts Nova Scotia, and Nova Scotia Basketry Guild.
“Echoes in Memory”, is a response-based, sculptural sound installation that explores the acoustic and resonant potential of copper. By supporting vibrations and energetic sound heard only through amplification, NAT will investigate ways to visualize sonic voice and shape cocoon forms that become vessels for carrying – vessels for containment – vessels for holding.
Photo courtesy of Kate Ward.
Lorraine Albert is an interdisciplinary artist, educator, and designer whose practice
is rooted in lateral conceptual ideation. Her practice is found where notions of space
(place), body (movement), and time (pace) converge. She has a degree in Graphic
Design (Dawson College), a Bachelor of Fine Art (Concordia University) and a
Masters of Fine Art (Nova Scotia College of Art and Design University). Her work has
appeared in various festivals, galleries, and sites within Canada and Australia.
Silent Solo Symphony is a fully immersive experiential installation that makes use of
motion sensors and participant’s body movement to create a musical composition.
Regine Tiu is a Taiwanese-Filipino immigrant and sexual assault survivor. Having resided in many countries and cities in her lifetime, she continually explores the liminality of self and home.
Not your jolie poupée is an attempt to articulate the disjointed living experience of a female body. With a mixture of print, media and sculpture, this project aims to defy the male gaze and simultaneously eradicate erroneous cultural stereotypes.
Julie Robert is a ballet and contemporary dancer originally from Montréal, Québec. She graduated from the professional dance program at l’École de danse contemporaine de Montréal in 2015. She is currently a dance artist with the Mocean Dance company and teaches ballet and contemporary dance in Halifax, Nova Scotia.
Still Life is a video-based installation which will seek to juxtapose still life with movement/dance into a tableau vivant, creating an immersive space that redefines our relationship with time and heightens our sensitivity to movement. By playing with idleness, subtle repetition and image speeds, the footage will create a durational, multi-channel video installation that will be seamlessly looped, diminishing the awareness of time.
Carrie will be working towards building interactive websites for her art projects, The Shubenacadie River Beading Project and 150. The Shubenacadie River Beading Project is a collaborative community project that stands in alliance with the Stop Alton Gas group and activates environmental activism through beading. The Shubenacadie River Beading Project’s website will include participants stories relating to the river and/or their experience participating. 150 is an interactive art installation consisting of one hundred and fifty beaded bracelets that depict a number relating to an event in Indigenous history. 150 highlight pressing and disturbing histories that are shared by many Indigenous peoples across Canada. Viewers access a legend through scanning an integrated QR code that directs the viewer to numbers150.com. By adding videos, audio, and a conversational element to this website Carrie hopes to include more voices and perspectives in this shared history. These interactive websites will enable viewers to participate from home as well as in gallery spaces.
Carrie Allison is an Indigenous mixed-race visual artist born and raised on unceded and unsurrendered Coast Salish Territory (Vancouver, BC). Situated in K’jipuktuk since 2010, Allison’s practice responds to her maternal Cree and Metis ancestry, thinking through intergenerational cultural loss and acts of resilience, resistance, and activism, while also thinking through notions of allyship, kinship and visiting. Allison’s practice is rooted in research and pedagogical discourses. Her work seeks to reclaim, remember, recreate and celebrate her ancestry through visual discourses. Allison looks to Indigenous, mixed-race, antiracist, feminist and environmental theorists to critically examine the world around her.
Allison holds a Masters in Fine Art, a Bachelor in Fine Art and a Bachelor in Art History from NSCAD University.
Having moved to Atlantic Canada in 2012 to complete an Interdisciplinary BFA at NSCAD University, Lux found herself drawn to the intimate narrative potential in tactile craft processes, due to their highly political nature as a domestic, feminine and often undervalued form of production. Inspired by her mixed racial and cultural identity, Lux externalizes intense internal grievances, to open up collective issues and qualities of larger community struggle to receive moments of healing and empowerment.
Sediment of a Child (her eyes cut like flowers) is an ephemeral clay installation capturing a process of material deterioration. Layered with fragmented and nostalgic imagery of girlhood, embodied trauma and many tender words – she seeks to emulate the chaotic nature of memory and the many subconscious, untold stories and unspoken legacies that live inside each of us.