Bodies are complex entities, both built and viewed from many scientific, social, and personal networks. In My Skin brings together artists who dare to self-determine what is means to live in their own bodies. Through diverse feminist perspectives, they resist dominant definitions of how one’s body "should" look, feel, move, and act. Consequently, they embrace the intricacies of what our bodies are and can be. These are acts of resistance and self-reclamation that are actionable calls to respect more fully, love more completely, and care more intentionally for the bodies we inhabit and, by extension, those of others.

With for those of us who live at the shoreline we are reminded of methods of self-soothing and affirmation that we return to as both salve and testimony. Here, kinship, self-imagining, and ancestral knowledge take precedent, and movements of both embrace and refusal are offered as an act of care. Relations here are multi-faceted: they are tactile, immaterial, and otherworldly; they reside on the same embodied plane as liberation, as rest, as joy; they privilege the immediacy of feeling and spirit. The works in this exhibition act as witness to both us and their makers, communally grounding us within the freedom of each of our expansiveness and with love for our specificities.

With for those of us who live at the shoreline we are reminded of methods of self-soothing and affirmation that we return to as both salve and testimony. Here, kinship, self-imagining, and ancestral knowledge take precedent, and movements of both embrace and refusal are offered as an act of care. Relations here are multi-faceted: they are tactile, immaterial, and otherworldly; they reside on the same embodied plane as liberation, as rest, as joy; they privilege the immediacy of feeling and spirit. The works in this exhibition act as witness to both us and their makers, communally grounding us within the freedom of each of our expansiveness and with love for our specificities.

Bodies are complex entities, both built and viewed from many scientific, social, and personal networks. In My Skin brings together artists who dare to self-determine what is means to live in their own bodies. Through diverse feminist perspectives, they resist dominant definitions of how one’s body "should" look, feel, move, and act. Consequently, they embrace the intricacies of what our bodies are and can be. These are acts of resistance and self-reclamation that are actionable calls to respect more fully, love more completely, and care more intentionally for the bodies we inhabit and, by extension, those of others.

The Salt, the Milk, the Donkey, the Honey, the Folk Singers is part of an ongoing series of work about global trade, food production, and advanced industrialism and has been presented at various locations throughout the world. These images, drawings and installations continue his interest in connected global patterns of production, trade and sustainability, articulated through the embodied connections he builds between individuals and the more-than-human world.

Accompanying this exhibition, a live performance will take place on July 2, 2022, with the support of the Regina Farmers Market. The performance includes a procession of musicians, goats, farmers, beekeepers and a donkey.

Bodies are complex entities, both built and viewed from many scientific, social, and personal networks. In My Skin brings together artists who dare to self-determine what is means to live in their own bodies. Through diverse feminist perspectives, they resist dominant definitions of how one’s body "should" look, feel, move, and act. Consequently, they embrace the intricacies of what our bodies are and can be. These are acts of resistance and self-reclamation that are actionable calls to respect more fully, love more completely, and care more intentionally for the bodies we inhabit and, by extension, those of others.

For over 30 years, Shelley Niro has challenged dominant perceptions of Indigenous people throughout her extensive art and filmmaking practice. Often using humour and a flair for storytelling, Niro addresses stereotypical representations of Indigenous people to expose powerful colonial attitudes. From her unique perspective as a Mohawk artist, Niro frequently casts herself and family members in her work to harnesses her familial agency. Niro’s work continually stresses the significance of the land within Indigenous worldviews, languages, and ways of being.

Shelley Niro is a member of the Turtle Clan, Bay of Quinte Mohawk from the Six Nations Reserve. holds a degree from Ontario College of Art and a Master of Fine Art from the University of Western Ontario. Niro has exhibited across Canada has work in collections of the Canada Council Art Bank, Canadian Museum of History, and Canadian Museum of Contemporary Photography. Her award-winning films have been screened in festivals worldwide, and she presented work at the 2003 Venice Biennale. Shelley Niro lives in Brantford, Ontario.

For over 30 years, Shelley Niro has challenged dominant perceptions of Indigenous people throughout her extensive art and filmmaking practice. Often using humour and a flair for storytelling, Niro addresses stereotypical representations of Indigenous people to expose powerful colonial attitudes. From her unique perspective as a Mohawk artist, Niro frequently casts herself and family members in her work to harnesses her familial agency. Niro’s work continually stresses the significance of the land within Indigenous worldviews, languages, and ways of being.

Shelley Niro is a member of the Turtle Clan, Bay of Quinte Mohawk from the Six Nations Reserve. holds a degree from Ontario College of Art and a Master of Fine Art from the University of Western Ontario. Niro has exhibited across Canada has work in collections of the Canada Council Art Bank, Canadian Museum of History, and Canadian Museum of Contemporary Photography. Her award-winning films have been screened in festivals worldwide, and she presented work at the 2003 Venice Biennale. Shelley Niro lives in Brantford, Ontario.