the lands refusal
Kiona Callihoo Ligtvoet, kiwi’s hill, 2024. | Photo: Courtesy of the artist
Kiona Callihoo Ligtvoet & Julia Rose Sutherland
Main Space
October 29–December 7, 2024
Opening Reception: October 26, 2024, 3pm
Julia Rose Sutherland and Kiona Callihoo Ligtvoet come together in Union Gallery’s Main Space to present the lands refusal, an exhibition which borrows its name from the words of L.H. Stallings: “The land’s refusal to be separated from flesh.” Julia Rose, an artist of Mi’kmaq (Metepenagiag Nation) and settler descent, shares works of handmade paper and beaded hide, holding grief and kinship on and with the land. Kiona, an artist of Cree and Métis (descending from Michel Band) as well as Dutch and mixed European ancestry, shares paintings and a photo-based installation, honouring her moshom’s land and the stories it holds.
This exhibition is supported by the George Taylor Richardson Memorial Fund.
ARTIST STATEMENTS
JULIA ROSE SUTHERLAND
This exhibition is rooted in my experiences during my artist residency at Headlands Center for the Arts, where I spent time with the land and reflected on my approach to placemaking. Inspired by L.H. Stallings’ words, "The land’s refusal to be separated from flesh," my work examines the connection between Indigenous and Black bodies and the land.
The series includes handmade paper, drawings, prose, and beadwork, reflecting the importance of knowing, sharing moments, and building reciprocal yet complex relationships with the land. This work builds on my previous interactive installation, "Gepmite'tg," which featured over 300 sheets of paper. In that installation, participants used sage ash to reveal the embossed names of Indigenous women lost to violence. By blending and reconstituting this marked paper, I created newly formed sheets as a symbol of collective grief, solidarity, and kinship of the communities impacted by the epidemic of Missing and Murdered Indigenous Women, Girls, and Two-Spirited individuals (MMIWG2S+).
For years, I have kept these names close, unable to part with them, and have chosen to recontextualize them into new handmade paper. In this work, I invite viewers to engage with themes of collective grief and loss while nurturing solidarity and kinship with the land. Each sheet is imbued with the memory of these women—our ancestors.
The handmade paper reflects ancestral connections, while the beaded hide work reflects shared sacred laughter and collective moments of deep breathing that enrich our communities. It embodies our craving for connection, the desire to be held and to hold the land, to be "dirt eaters," and to return to the land.
KIONA CALLIHOO LIGTVOET
the lands refusal shares mundane and loving moments on the quarter section of land my moshom received after the enfranchisement of Michel Band. Michel Band was enfranchised in entirety in 1958, and experienced total loss of reserve lands. The works in this exhibition gently acknowledge the way I know my home.
My moshom was born up the hill from here in his parents’ cabin, on what was still Michel reserve land at the time. He built a house across the dirt road, where my mom was raised, and it’s where I would also grow up. This has been home to many relatives through their childhoods, and a soft landing to return to as they grew.
The land has seen good farm dogs, two rapidly growing cities in the distance, cold Winters, dry Summers, and berry blooms through Spring, Summer, and Fall. Despite growing changes, land loss, grief, and disruptions, medicines continue to grow, seed, and come back; horseback rides up hills have become namesakes, and stories have been kept.
My works in the lands refusal honour those memories, knowing that I’ll never be alone in the markers that make up the stories shared.
Kiona Callihoo Ligtvoet, you tell me stories at sunset, 30” x 40”, 2024, acrylic on canvas. | Photo: Courtesy of the artist
Kiona Callihoo Ligtvoet (she/her) is a multidisciplinary artist practicing in amiskwaciwâskahikan on Treaty 6 Territory. She grew up West of the city near the hamlet of Calahoo where she lived with her relatives on scrip land. Her family lines are Cree and Métis descending from Michel First Nation, as well as Dutch and mixed European.
Kiona works in painting, printmaking, drawing and installation, recollecting personal stories of grief and tenderness. Her practice uses a non-linear telling of her memories through narrative work as a form of diaristic archiving. It draws from feelings of loss and enfranchisement, but also from deep belly laughter, mundane gestures, and a gentle fondness for where the histories between herself and her family overlap and disperse.
Kiona has had solo exhibitions at The New Gallery, Calgary, AB; Harcourt House, Edmonton, AB; and Latitude 53, Edmonton, AB. Her work has been featured in group exhibitions at Ociciwan Contemporary Art Centre, Edmonton, AB; Khyber Art Centre, Halifax, NS; Neutral Ground, Regina, SK; and Bowling Green State University, Bowling Green, OH. She co-curated these bodies heal slowly and in our own time (2023-24) and the soil between plants (2022) with Making Space, and What’s Held through TREX and the Art Gallery of Grande Prairie (2022).
Kiona was a recipient of the Lieutenant Governor Emerging Artist Award (2022) and The Queen’s Platinum Jubilee Medal (2023). Her debut graphic novel with Conundrum Press, We Were Younger Once (2022), was a nominee for the The Doug Wright Award for emerging talent, and she is working on her second graphic novel to be released by Emanata Press in 2027.
Working alongside other artists in initiatives of community care, Kiona co-organizes Making Space in partnership with Sanaa Humayun. She likes visiting her moshom on the farm and gossiping with her mom, relatives, and friends on the prairies.
Julia Rose Sutherland, A'su'n | Photo: Courtesy of the artist
JRS or Julia Rose Sutherland (she/they) is a storyteller, interdisciplinary artist, and educator/ Assistant Professor at OCAD University in Toronto, Canada. She is of Mi’kmaq (Metepenagiag Nation) and settler descent, with a rich background in Studio Arts and Craft and New Media. Holding an MFA from the University at Buffalo and a BFA from Alberta College of Art + Design, Sutherland navigates the intersections of art, activism, and academia. Sutherland’s artistic practice is marked by a commitment to expanding the concept of testimony in the realm of human rights and social justice. Their work delves into the often-overlooked narratives of slow violence, unspoken testimonies, and testimonies of joy and hope. Their solo exhibitions, such as "Netuisget NISSING" and "GINA'MATIMG TIME OF ACQUIRING LEARNING," showcase a profound exploration of these themes, challenging conventional narratives and providing a platform for marginalized Indigenous voices.
In addition to solo exhibitions, Sutherland actively participates in group exhibitions nationally and internationally, contributing to renowned events like the DesignTO Festival, Art Toronto, and the Contemporary Native Art Biennial. Their participation in exhibitions curated by institutions like The Power Plant Contemporary Art Gallery reflects their dedication to pushing artistic boundaries and engaging in critical dialogues.
Sutherland’s artistic contributions extend beyond gallery walls. Their work has been featured in publications and media, including an upcoming Front Cover Art Feature for Room Magazine. Notable the cover and interview in Trauma-Informed Pedagogy: Addressing Gender-Based Violence in the Classroom. She has been interviewed and featured in The Globe and Mail's Style Magazine, the front cover of Esse magazine, and Art Toronto Panel Discussions, which highlight JRS's influence in decolonizing museums and promoting Indigeneity.
As an award-winning artist, Sutherland has received accolades such as OCAD University's Teaching Award and the Sustainable Futures Faculty Fellowship. Their dedication to sustainable pedagogy is evident through guest lectures, workshops, and participation as a jury member in various Arts and Crafts organizations.
Sutherland's impact is not confined to the art world; they actively shape the artistic landscape. Serving as a jury member for prestigious organizations like the Ontario Arts Council and the Alberta Print Makers, JRS contributes to the selection and recognition of emerging artists.
With upcoming residencies at the Headlands Center for the Arts and past experiences at BEMIS Center for Contemporary Arts and Calgary Women's Centre, JRS continues to expand their artistic horizons. Their work transcends borders, with virtual residencies and lectures at institutions like Weber State University in Utah.
A passion marks Sutherland’s journey for dismantling traditional narratives, exploring the diverse facets of testimony, and contributing to the evolution of contemporary art. Through their art, education, and advocacy, Sutherland stands at the forefront of artists challenging the status quo, envisioning a future where diverse voices are heard and celebrated.
THANKS + ACKNOWLEDGEMENTS
From Kiona:
Thanks & acknowledgement to Seth Arcand for generously photographing kiwi’s hill, 8ft x 3ft, digital photograph on phototex, and for visiting with me and my moshom each week.
Phototex printing by Klyment Tan
Deepest gratitude to Ernie Callihoo (moshom) for keeping this land, for welcoming me every week over pop, co-op sandwiches, and stories, and for making sure that I know everything I need.
From Julia Rose:
Thanks and acknowledgement to the Canada Council for the Arts funding via the Small-Scale Activities component of the Creating, Knowing, and Sharing grant. This grant made possible the time and space to create this work, which started at the Headland Center for the Arts Artist Residency.
My contribution to this exhibition is dedicated to my family in Metepenagiag, especially my cousin David Hadad, who left us far too soon. The work here explores sacred laughter, love, and connection, deeply rooted in the love of my kin and our community, particularly our youth. In fond loving of David, I offer prayers for our community.
From Union Gallery:
Union Gallery extends sincere thanks to the Provost's Advisory Committee on the Promotion of the Arts at Queen's University for supporting the lands refusal through the George Taylor Richardson Memorial Fund.