Works of artists

Eruoma Awashish (Atikamekw Nehirowisiw)
Wapikoniskaw, fleurir de l’intérieur, 2025
Photograph mounted on aluminium
Photography collaborator: Mathieu Langevin

Kitcitwa Iskwewok, femmes sacrées, 2026
Mixed materials and plant elements

This self-portrait by the artist is a powerful manifestation of femininity, sensuality, and the empowerment of Indigenous women, Nehirowi iskwewok. Draped in a blanket, her hair loose, she allows flowers to emerge from her mouth, symbolizing life, gentleness, fragility, and an indomitable inner strength. These flowers embody feminine interiority, symbolically representing the womb—Matisiwin—the sacred place where life begins, a site of power that is both delicate and resilient.

The work is part of a broader process of reappropriation and cultural resistance in response to the enduring legacy of colonialism and religion, which have distorted and reduced Indigenous female sexuality to a taboo or a source of shame. By reaffirming sexuality as a natural, sacred, free, and living space, the artist revives an ancestral vision that is now being reclaimed, restoring women’s place within their traditional societies. This image invites viewers to reconnect with an essential balance between body, mind, culture, and nature, celebrating autonomous and sovereign feminine power.

Dayna Danger (Métis-Saulteaux-Polish)
Sharky, 2023
Digital Print mounted on aluminum 

Sharky’s Mask, 2023
Recycled black goat leather, white string, a variety of coloured Czech beads, caribou teeth, red rickrack and ribbon
Mask sewn by Kiri Skuce, from the Kinship Masks series

Sharky and Sharky’s Mask is a collaboration between artist Dayna Danger and soapstone carver, Mary Sharky a.k.a Miali. Sharky’s Mask is covered with symbolism of flowers representing some of her family: her 3 daughters and parents. Inuit artist asinnajaq collaborated with Mary too to pick out which facial tattoo she may like to have one day. This choice is represented as a white stitch sewn. The rickrack honour Miali’s unique artistic style.

The Kinship Masks series consists of seven beaded fetish masks and eight large-scale photographs enhanced with beads. Participants were photographed wearing leather-beaded fetish masks in a deliberate and political rejection of the voyeuristic gaze. The series uses symbolic references to the kink community to critically question visibility and refusal, and reclaim power over marginalized bodies. Each mask is unique to the wearer, with patterns and designs inspired by their body art and personal life stories. The series creates suspension of reality, exchanging complex dynamics of sexuality, gender, and power while enacting consent.

Cedar Eve (Anishinaabe)
Que Pasa Baby? Pt. 2, 2026
Acrylic on canvas

The spectrum of human transformation

Time travel; a compilation of past/present/future selves embracing change and movement as part of something bigger

Interconnected, symbiotic 

Fluidity of identity

Community care and the caretaking that exists within Indigenous families

New life being welcomed out by spirits/ancestors

It’s like this big embrace

Patricia Langevin (Pekuakamiulnu)
13 pleines lunes / Kutulnu ashu nisht^u shakassineu tapishkau-pishim^u, 2025
Blown glass installation mounted on caribou, moose and deer antlers, and driftwood

We women are water carriers.

Our bodily cycles are intimately linked to the 28-day lunar cycle.

Inspired by the 13 full moons of the year, 13 women, 13 identities, 13 universes. In 2026, why not celebrate the number 13?

Through this intimate installation, explore the universe of uncolonized sexuality. Using a flashlight, shed light on the uniqueness of these vibrant and radiant women who honor their diversity. Women connected to their ancestral spirituality, free and proud.

In this space, having your moons, your periods, is synonymous with beauty, fragility, contemplation, and celebration of life!

Andrée Levesque Sioui (Wendat)
Öne tsotratih, 2026
Metal, leather, fur, bison and sheep wool, sphagnum moss and other mosses, cattail, down, leaves, wood, corn husks, phragmites stems, beads, thread, jute, ropes, cotton, linen, satin, ribbon, shells, Styrofoam

Öne tsotratih, the celestial body has been renewed.

A’tikwänonhronhkwänion’ de wahsonta’yeh yändicha’ onywahchiouta’ah, we thank our grandmother, the moon. She makes her rounds in the night sky, watching over us, guiding us, recognizing us in our feminine cycles and as water carriers.

Önhetien yarenda’, women’s ceremonies also known as under the husk or the berry fast, depending on the people, continue to be passed down from grandmothers and mothers to young women at the dawn of puberty. The essential community support for rites of passage from childhood to adulthood is well underway; the elders accompany yawinonh, young women, through their physical, emotional, and spiritual changes toward sexual maturity, that great power of giving life. All life is sacred, and the beginning of the lunar cycles is an important celebration and responsibility, that of the power of creation and protection in the image of Wateronyonnonnenh, Little Turtle, the guardian of the sky. The hut symbolizes ritual fasting and introspection, as well as a safe space where women in their moon time, the peak of their power, can gather.

In contrast to a narrow worldview where the ultimate protection offered to women against their natural cycles is sanitary pads or ultra-absorbent tampons, ancestral rituals serve as intimate protection, recognition, joy, pride, unwavering support, and empowerment in the face of life.

A 13-moon cycle to connect to their power and a lifetime to honor it.

Virginia Pesemapeo Bordeleau (Eeyou)
Wapokoni, 2025
Fabric, embroidery thread

On the theme of joyful and confident female sexuality, I drew inspiration from my novel L’amant du lac (Mémoire d’encrier, 2013), specifically from the character of Wapokoni, a young Indigenous woman who falls under the spell of a stranger arriving on the shore near the land where her clan spends the summer.

Her Anicinape name, Wapokoni, means “flower” in French, and there is an orchid in the boreal forest that vaguely resembles female genitalia. I present four embroideries suggesting a gradual rise in desire through the representation of these wild flowers, using the color red, which becomes increasingly prominent from one canvas to the next. Three of the works are the same size, while the largest bears the title written in Eeyou syllabic script. 

Cheyenne Rain LeGrande ᑭᒥᐘᐣ (Nehiyaw)
ᐅᒉᒣᐤKissing Myself ᐅᒉᒣᐤ, 2025

Image printed on Satin, stretched on popular wooden frame, ribbon, metal grommets This work is a continuation of embracing my body through performance art and an expression of my queer identity. For me, sexuality is about loving yourself and sharing that love with others. For this exhibition I’ve included an image of Kissing Myself. I wanted to highlight my Nehiyaw Alien makeup looks in this piece. Nehiyaw Alien is a term I refer to myself as. It encapsulates how I present myself to the world. It’s an expression of how I do my makeup, how I dress. It’s also about my connection to my ancestors, the stars and the feeling of being a celestial being.