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Kindred Tracings
Muriel Ahmarani Jaouich, Minahil Bukhari, Russna Kaur & Michelle Sound
Kindred Tracings brings together the work of 4 contemporary artists who apply strategies of abstraction to give shape, substance, and colour to the experience—and failures—of language. By dismantling and then reconstructing language, each of the exhibiting artists affirm the ancestral connections and traditions they’ve inherited. Through a variety of artistic mediums, they explore kin and connection. Tracing lineages across silenced histories, there is an emergence of new visual vocabularies that celebrate family and the domestic lives that have survived. While each artist is responding to particular family histories, they explore the potential of abstraction to transcend the particular and resonate universally.
As Cree poet Billy-Ray Belcourt notes, “no language is placeless.” It is meaningful that new works created for the exhibition are influenced by the unique setting of Fairacres Mansion, built in 1911 and home to the Burnaby Art Gallery. Original features of the house and the Century Gardens provide context and provocation for artists to explore how visual symbols have been passed across histories of imperialism and architecture.
Emily Dudas Oke
Exhibition Curator
htmlText_3662EF19_7D43_65FD_41D9_0F7FDBD8F2F5.html =
Kindred Tracings
Muriel Ahmarani Jaouich, Minahil Bukhari, Russna Kaur & Michelle Sound
Kindred Tracings brings together the work of 4 contemporary artists who apply strategies of abstraction to give shape, substance, and colour to the experience—and failures—of language. By dismantling and then reconstructing language, each of the exhibiting artists affirm the ancestral connections and traditions they’ve inherited. Through a variety of artistic mediums, they explore kin and connection. Tracing lineages across silenced histories, there is an emergence of new visual vocabularies that celebrate family and the domestic lives that have survived. While each artist is responding to particular family histories, they explore the potential of abstraction to transcend the particular and resonate universally.
As Cree poet Billy-Ray Belcourt notes, “no language is placeless.” It is meaningful that new works created for the exhibition are influenced by the unique setting of Fairacres Mansion, built in 1911 and home to the Burnaby Art Gallery. Original features of the house and the Century Gardens provide context and provocation for artists to explore how visual symbols have been passed across histories of imperialism and architecture.
Emily Dudas Oke
Exhibition Curator
htmlText_EE445BD5_C000_F119_41E4_1E8DA0819442.html =
Kindred Tracings
Muriel Ahmarani Jaouich, Minahil Bukhari, Russna Kaur & Michelle Sound
Kindred Tracings brings together the work of 4 contemporary artists who apply strategies of abstraction to give shape, substance, and colour to the experience—and failures—of language. By dismantling and then reconstructing language, each of the exhibiting artists affirm the ancestral connections and traditions they’ve inherited. Through a variety of artistic mediums, they explore kin and connection. Tracing lineages across silenced histories, there is an emergence of new visual vocabularies that celebrate family and the domestic lives that have survived. While each artist is responding to particular family histories, they explore the potential of abstraction to transcend the particular and resonate universally.
As Cree poet Billy-Ray Belcourt notes, “no language is placeless.” It is meaningful that new works created for the exhibition are influenced by the unique setting of Fairacres Mansion, built in 1911 and home to the Burnaby Art Gallery. Original features of the house and the Century Gardens provide context and provocation for artists to explore how visual symbols have been passed across histories of imperialism and architecture.
Emily Dudas Oke
Exhibition Curator
htmlText_B172A80E_A66F_4E0B_41AE_433981FDC508.html =
Kindred Tracings
Muriel Ahmarani Jaouich, Minahil Bukhari, Russna Kaur & Michelle Sound
Kindred Tracings brings together the work of 4 contemporary artists who apply strategies of abstraction to give shape, substance, and colour to the experience—and failures—of language. By dismantling and then reconstructing language, each of the exhibiting artists affirm the ancestral connections and traditions they’ve inherited. Through a variety of artistic mediums, they explore kin and connection. Tracing lineages across silenced histories, there is an emergence of new visual vocabularies that celebrate family and the domestic lives that have survived. While each artist is responding to particular family histories, they explore the potential of abstraction to transcend the particular and resonate universally.
As Cree poet Billy-Ray Belcourt notes, “no language is placeless.” It is meaningful that new works created for the exhibition are influenced by the unique setting of Fairacres Mansion, built in 1911 and home to the Burnaby Art Gallery. Original features of the house and the Century Gardens provide context and provocation for artists to explore how visual symbols have been passed across histories of imperialism and architecture.
Emily Dudas Oke
Exhibition Curator
htmlText_F64169B1_D026_EECB_41DE_B843A6EE5158.html =
Michelle Sound
For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F79B8ADF_D029_A277_41A7_32046F74EF21.html =
Michelle Sound

For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F66875D4_D026_A649_41A4_12D2C94EAC32.html =
Michelle Sound

For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F6D73461_D059_A64B_41E9_AFF978F5811B.html =
Michelle Sound

For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F6251401_D05A_E5CB_41E2_AA09E04C3D3F.html =
Michelle Sound

For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F6213065_D05B_DE4B_41DA_3B1FFE006887.html =
Michelle Sound

For Cree and Métis artist Michelle Sound, language is tied to the plains of her ancestral communities. Nehiyawewin (the Cree language) is a place based language, and the land shapes the language itself. Mapping proposes not only a new visual language to understand land, but is also used as a tool within the relocation and fragmentation of Indigenous communities from their homelands. Sipikiskisiw (Remembers Far Back) features images of an Indian Affairs Papaschase reserve survey map from 1899 and a photograph taken before 1907 of Indigenous men and tipis on the grounds of Fort Edmonton documenting Indigenous relations to the land in Amiskwaciwâskahikan. Despite having signed treaty, members of the Papaschase First Nation were removed from their land for settler expansion and it was illegally surrendered.
Nehiyawewin is also a flexible language, and worksheets from a nehiyawewin language book the artist’s mother has had since the 1970’s show words created post-contact to account for the emergence of a new reality—namely, the diseases that resulted in immense loss of life. These images are ripped as a marker of the colonial violence that Indigenous people have experienced, which includes the residential school experience, intergenerational trauma, loss of language, and displacement from territory. Stitched together using embroidery thread, caribou tufting, porcupine quills, and beadwork, the rips remain visible. Just as the loss, grief, longing, and memory cannot be fully mended, the resiliency required to survive colonialism is also messy and fragile.
htmlText_F63405F1_D05F_E64B_41E6_E8A2337B4B1E.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
htmlText_F6E2B887_D059_6ED7_41E7_3CF0E2A5580E.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
htmlText_F697B8FE_D05E_AE39_41E7_EC301CA95F33.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
htmlText_F6847EED_D05A_A25B_41E6_1CE0F963087F.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
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Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
htmlText_F67A0305_D02B_E3CB_41D5_1FCA0318EA3B.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
htmlText_F66274CB_D029_665F_41DD_D91A61CC26E1.html =
Minahil Bukhari
Beginning with language, Bukhari extracts shapes from preexisting forms such as letters and linguistic characters and uses them as compositional elements to speak of history and erasure. I am her, she is me is a reflection and interruption on the erasure of women from family archives. None of the women in Bukhari’s family have been recorded in any lineage documents leading up to her generation, and as such, their ancestral connection to Prophet Muhammad was never archived. In researching possible geographies where these women would have resided, Bukhari has appropriated and adjusted certain linguistic symbols from their locales to develop her own symbols representing Fatima, daughter of Prophet Muhammad.
Bukhari was inspired by her own mother’s ingenuity of embroidery techniques and designs. In the comfort of their own home, Bukhari witnessed her mother develop rather sophisticated methods of translating designs to multiple surfaces without any formal fine art, fashion, or academic training. In I am her, she is me, Bukhari adopts aspects of these techniques through the puncturing of designs and applies them to a work on paper, thereby engaging on an embodied level with a lineage of domestic textile practices. Her exploration of language, legibility, and architecture continue in wall works made of paper pulp, influenced by the curvatures of writing systems and their ability to confine or exclude.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
htmlText_F5D9C9D0_D03A_AE49_41E0_765E429413A1.html =
Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Muriel Ahmarani Jaouich
Muriel Ahmarani Jaouich was born to parents of Egyptian and Lebanese descent who are themselves children of Armenian refugees. Ahmarani Jaouich understands herself as a receiver or container of the experiences of her ancestors and kin, just as Egypt became the container for her displaced ancestors.
As no language is placeless, we witness that Ahmarani Jaouich’s language resides in her body. After discovering details of the genocide her ancestors witnessed and were victim to, Ahmarani Jaouich was shuttered, shaken, and collapsed in the studio. There has never been a formal acknowledgement that the violence her ancestors were subject to was an act of genocide. What the body holds of those erased comes out in a language that is both neither and entirely hers. Working intuitively, forms reminiscent of hieroglyphics emerge as does a personal glossary of symbols for the Ottoman Empire. A language, a trauma, an ancestral grief, is made into an affirmation through her gestures. She weaves history and healing together, her paintings becoming vessels for connection and reclamation. She communes with ancestors through—not despite—silence.
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Russna Kaur
Although she works within abstraction—investigating the potential of line, colour, surface, and marks—Russna Kaur’s work begins in language. Her writing practice precedes the creation of her large scale, often site-responsive paintings and installation. In writing, and painting too, she pushes beyond constraints. Surface itself, for Kaur, is emblematic of a life lived that is non-linear, full of experiences seemingly disjointed but connected by a “common thread or line—an underlying thing that’s holding it together.” Line becomes metaphor for life itself and a particular set of experiences, but shared using the language of abstraction in the hopes of a universal resonance.
In this activation, Kaur is responding to the original features of the Fairacres Mansion, built in 1911 and the Century Gardens outside. The formal quality of these spaces, as well as the history laden within them, become a reflection on domesticity, disconnection, and entangled roots and lives.
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Russna Kaur

Although she works within abstraction—investigating the potential of line, colour, surface, and marks—Russna Kaur’s work begins in language. Her writing practice precedes the creation of her large scale, often site-responsive paintings and installation. In writing, and painting too, she pushes beyond constraints. Surface itself, for Kaur, is emblematic of a life lived that is non-linear, full of experiences seemingly disjointed but connected by a “common thread or line—an underlying thing that’s holding it together.” Line becomes metaphor for life itself and a particular set of experiences, but shared using the language of abstraction in the hopes of a universal resonance.

In this activation, Kaur is responding to the original features of the Fairacres Mansion, built in 1911 and the Century Gardens outside. The formal quality of these spaces, as well as the history laden within them, become a reflection on domesticity, disconnection, and entangled roots and lives.
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Russna Kaur

Although she works within abstraction—investigating the potential of line, colour, surface, and marks—Russna Kaur’s work begins in language. Her writing practice precedes the creation of her large scale, often site-responsive paintings and installation. In writing, and painting too, she pushes beyond constraints. Surface itself, for Kaur, is emblematic of a life lived that is non-linear, full of experiences seemingly disjointed but connected by a “common thread or line—an underlying thing that’s holding it together.” Line becomes metaphor for life itself and a particular set of experiences, but shared using the language of abstraction in the hopes of a universal resonance.

In this activation, Kaur is responding to the original features of the Fairacres Mansion, built in 1911 and the Century Gardens outside. The formal quality of these spaces, as well as the history laden within them, become a reflection on domesticity, disconnection, and entangled roots and lives.
htmlText_F61AEA34_D02A_EDC9_41DB_99938CCA924E.html =
Russna Kaur

Although she works within abstraction—investigating the potential of line, colour, surface, and marks—Russna Kaur’s work begins in language. Her writing practice precedes the creation of her large scale, often site-responsive paintings and installation. In writing, and painting too, she pushes beyond constraints. Surface itself, for Kaur, is emblematic of a life lived that is non-linear, full of experiences seemingly disjointed but connected by a “common thread or line—an underlying thing that’s holding it together.” Line becomes metaphor for life itself and a particular set of experiences, but shared using the language of abstraction in the hopes of a universal resonance.

In this activation, Kaur is responding to the original features of the Fairacres Mansion, built in 1911 and the Century Gardens outside. The formal quality of these spaces, as well as the history laden within them, become a reflection on domesticity, disconnection, and entangled roots and lives.
htmlText_F5DF187F_D03A_AE37_41E7_0BFD405649AB.html =
Russna Kaur

Although she works within abstraction—investigating the potential of line, colour, surface, and marks—Russna Kaur’s work begins in language. Her writing practice precedes the creation of her large scale, often site-responsive paintings and installation. In writing, and painting too, she pushes beyond constraints. Surface itself, for Kaur, is emblematic of a life lived that is non-linear, full of experiences seemingly disjointed but connected by a “common thread or line—an underlying thing that’s holding it together.” Line becomes metaphor for life itself and a particular set of experiences, but shared using the language of abstraction in the hopes of a universal resonance.

In this activation, Kaur is responding to the original features of the Fairacres Mansion, built in 1911 and the Century Gardens outside. The formal quality of these spaces, as well as the history laden within them, become a reflection on domesticity, disconnection, and entangled roots and lives.
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Michelle Sound
(left to right)
Legends of Deer Lake
Portal
2023
Cyanotype on elk hide drum
35.56 cm x 35.56 cm
25.40 cm x 25.40 cm
Collection of the artist

Michelle Sound responds to the history of Deer Lake, and the ecology which surrounds it. Plants harvested from the perimeter of the lake include Indigenous species, as well as those introduced through settlement. The Century Gardens were established as the municipality's 1967 Centennial Project at Deer Lake Park, as an ode to the British monarch. In the titling of the works, Sound references Squamish Chief Joe Capilano’s story of the Seal King, as told to poet E. Pauline Johnson and recorded in her book Legends of Deer Lake.
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Michelle Sound
(left to right)
Sicknesses
Being Sick
2023
Archival print on paper, embroidery thread, yarn, seed beads, dyed mink fur and porcupine quills
130.81 cm x 99.70 cm ea.
Collection of the artist
The artist would like to gratefully acknowledge the support of
the BC Arts Council
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Michelle Sound
(left to right)
Sicknesses
Being Sick
2023
Archival print on paper, embroidery thread, yarn, seed beads, dyed mink fur and porcupine quills
130.81 cm x 99.70 cm ea.
Collection of the artist
The artist would like to gratefully acknowledge the support of
the BC Arts Council
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Michelle Sound
Second
2022
Archival photo on paper, embroidery thread, cord, seed beads, dyed porcupine quills, dyed fox fur, vintage beads
130.81 cm x 99.70 cm
City of Burnaby Permanent Art Collection
The artist would like to gratefully acknowledge the support of the Canada Council for the Arts
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Michelle Sound
Sipikiskisiw (Remembers Far Back)
2022
Archival photo and map on paper, embroidery thread, rick rack, vintage beads, bugle beads, glass seed beads, caribou tufting, porcupine quills
91.44 cm x 182.88 cm
Collection of the artist
The artist would like to gratefully acknowledge the support of the
City of Edmonton Public Art Program
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Minahil Bukhari
Alcove
2023
Paper pulp and earth pigment
52.0 cm x 71.0 cm
Collection of the artist
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Minahil Bukhari
Bearings one
2023
Paper pulp and earth pigment
33.0 cm x 23.0 cm
Collection of the artist
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Minahil Bukhari
Bearings two
2023
Paper pulp and earth pigment
45.0 cm x 46.0 cm
Collection of the artist
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Minahil Bukhari
Foci
2023
Paper pulp and earth pigment
71.0 cm x 44.0 cm
Collection of the artist
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Minahil Bukhari
I am her, she is me
2019
Cotton paper
929.64 cm x 106.68 cm
Collection of the artist
htmlText_3627C0CA_7D41_BC5F_41DC_765CE6ECF84C.html =
Minahil Bukhari
I am her, she is me
2019
Cotton paper
929.64 cm x 106.68 cm
Collection of the artist
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Minahil Bukhari
Interlace
2023
Paper pulp
Dimensions variable
Collection of the artist
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Minahil Bukhari
Interlace
2023
Paper pulp
Dimensions variable
Collection of the artist
htmlText_E30897CC_C000_310F_41E7_075A29A4FF6E.html =
Minahil Bukhari
Precedent
2023
Paper pulp and earth pigment
65.0 cm x 104.0 cm
Collection of the artist
htmlText_E0CF209E_C000_2F0B_41A6_C1B2A4C3C342.html =
Minahil Bukhari
Precedent
2023
Paper pulp and earth pigment
65.0 cm x 104.0 cm
Collection of the artist
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Muriel Ahmarani Jaouich
Baba et Mumu
2021
Oil on canvas
152.40 cm x 121.92 cm
Collection of the artist
htmlText_37B6B67F_7D41_6435_41C3_D957CF329309.html =
Muriel Ahmarani Jaouich
Rebirth (Veratsnund)
2021
Oil on canvas
61.0 cm x 122.0 cm
Collection of the artist
htmlText_EE50D69F_C000_D309_41CE_6342E22E65D2.html =
Muriel Ahmarani Jaouich
The Women We Carry in Us
2023
Oil on canvas
121.92 cm x 182.88 cm
Collection of the artist
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Muriel Ahmarani Jaouich
Vessels of Genealogies
2023
Oil on canvas
213.36 cm x 152.40 cm ea.
Collection of the artist
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Muriel Ahmarani Jaouich
Baba et Mumu
2021
Oil on canvas
152.40 cm x 121.92 cm
Collection of the artist
htmlText_F02C4E40_D027_A249_41D4_F230AC04FF19.html =
Muriel Ahmarani Jaouich
Deep Time
2023
Oil on canvas
76.2 cm x 152.4 cm
Collection of the artist
htmlText_5F237F43_7B43_E44D_41D3_39C96A4C9B3D.html =
Muriel Ahmarani Jaouich
The Women We Carry in Us
2023
Oil on canvas
121.92 cm x 182.88 cm
Collection of the artist
htmlText_E2FA9644_C000_537F_41E3_B10132DFEA6D.html =
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1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
htmlText_E379D07A_C001_EF0B_41D3_EAD1FE27820D.html =
________________________
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| 2 3
| 1
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1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
htmlText_E360496F_C000_F109_41E1_3714BC35BFBD.html =
________________________
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| 2 3
| 1
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| 4
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1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
htmlText_E36D967F_C000_D309_41E0_4FF810E956E3.html =
________________________
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| 2 3
| 1
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1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
htmlText_E1322C85_C000_57F9_41C7_AA70FBD999CC.html =
________________________
|
| 2 3
| 1
|
| 4
|________________________
1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
htmlText_E328837B_C000_5109_41D0_D86AA53A4B09.html =
________________________
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| 2 3
| 1
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| 4
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1. Russna Kaur
Vanished, a tangled knot
2023
Acrylic on canvas
152.0 cm x 122.0 cm
Collection of the artist
2. Russna Kaur
Plunge into distraction
2023
Acrylic on wood panel
22.86 cm x 30.48 cm
Collection of the artist
3. Russna Kaur
The Bolt That Crosses Over
2023
Acrylic, oil stick and saw dust on canvas
152.0 cm x 122.0 cm
Collection of the artist
4. Russna Kaur
I used to make a pile, pile of stones
2023
Acrylic and marker on canvas
122.0 cm x 92.0 cm
Collection of the artist
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