Waabanjigaazo
Nitānis Greyeyes-Brant Barker, Self-Portrait, 2025, seed beads and fishing line on interfacing | Photo courtesy of the artist
Cheyan Athanasiou, Jada Beck, Shannon Bee, Dr. Jamaica Cass, Chayse Davey, Monique Gingras, Nitānis Greyeyes-Brant Barker, Candice Martin, Carleigh Candice Mignonne Milburn, Jaya Pardy, Emily Shostal, Niiostoséra:ah Thompson, Samantha Trask, Shelley Young
Curated by Paige Van Tassel
Main Space
September 2–October 11, 2025
The Office of Indigenous Initiatives, Agnes, and Union Gallery are thrilled to continue a partnership for the 4th annual Indigenous Art Exhibition at Queen’s University. Programmed in conjunction with the National Day for Truth and Reconciliation, the exhibition is a celebration of Indigenous artists in the Katarokwi area.
This exhibition is generously supported by the Inclusive Community Fund.
CURATORIAL STATEMENT
Waabanjigaazo
s/he, they, or it (animate) is seen (by someone), “they” see her/him, them or it (animate);
s/he, they or it (animate) undergoes action (by someone)
Gimiigwechwendamin (we are grateful) to see the ancestors of our past, present, and futures in the ceremonies we uphold; to see our family and kin in the choices and attitudes we express; to see ourselves reflected in the spaces we traverse; to be seen, heard, and understood by someone or something other than ourselves. Gimiigwechwendamin waabanjigaazo.
Seeing is the first step in any learning journey, especially in coming to understand the truth. Once it is seen, we know of it, then we learn about it, and lastly come to understand it. Take time to see these works made by Indigenous artists residing in Katarokwi and reflect on what is seen on campus and around the community during the National Day of Truth and Reconciliation.
— Paige Van Tassel, Curator
Art History PhD candidate Paige Van Tassel has joined the team this year as a guest curator. Photo courtesy of Paige Van Tassel.
MEET THE CURATOR
Boozhoo indaawendaamenok, niiji-bimaadizig, niiji-anishinaabeg miinwaa kina wiya maampii. Mgizi doodem, Timmins nindoonjibaa, Paige Van Tassel niidizhnikaaz, Katarokwi ndaaw. Gaawiin mishi anishaaabe ezhinkaazowin indaayaanziin. Anishinaabekwe miinwaa omashkiigookwe ndaaw. Paige Van Tassel is Anishinaabe (Ojibwe) and ᓀᐦᐃᔭᐤ (Cree) from Timmins, Ontario. She is currently a PhD candidate in the Art History graduate program at Queen’s University, conducting research into the pre-contact Anishinaabe and Haudenosaunee stone tool collections housed at the Agnes Etherington Art Centre. Her interests include storytelling through the presentation and engagement with Indigenous art and artifacts to facilitate knowledge transfer. She is looking forward to engaging with Indigenous peoples of the Katarokwi region and their artworks to convey the truths and honour reconciliation in this upcoming exhibition.
MEET THE ARTISTS
Shannon is a member of Minegoziibe Anishinabe on Treaty 2 territory, and is also Red River Métis via Duck Bay. She is a multi-disciplinary hobby artist that has resided in Kingston/Katarokwi for 20 years. Living with multiple disabilities, cross stitch and embroidery design became her creative outlet of choice due to its slow-moving, meditative nature. Shannon also enjoys writing in the form of short essay and poetry, zine-making and creating beadwork pieces for herself and others.
“My commercially available cross stitch patterns and pieces typically border on kitsch, informed by things like pop culture, community care and politics. They are meaningful for me, but ‘not that deep.’
When I'm writing anything I wish shared, or when I create custom embroidery or beadwork for exhibits or as gifts for others, I visit and revisit and revisit.
Creation is a hobby, not a livelihood for me, but it brings me a lot of peace.”
Dr. Jamaica Cass
Dr. Jamaica Cass, a member of the Mohawks of the Bay of Quinte, is a primary care physician at Tyendinaga Mohawk Territory and Director of the Queen’s Weeneebayko Health Education Program. She is the first Indigenous woman in Canada to earn both MD and PhD degrees. A national leader in Indigenous health, her work in education, mentorship, and community impact has earned numerous honours, including the King Charles III Coronation Medal. Her artwork reflects her lived experience as a Haudenosaunee woman and physician, blending traditional and contemporary materials with anatomic and Indigenous iconography as themes.
“No concept better encompasses local traditional Indigenous culture and history in winter than the Haudenosaunee mid-winter celebration. This piece of mixed media art represents the sacred ceremony- Anonhwaró:ri. Celebrated by the six nations of the Haudenosaunee Confederacy, this ceremony celebrates the start of a New Year, the Sha’tekoshérhon. The body of ‘Seven Dancers in the Moonlight’ features hundreds of charlotte-cut seed beads. These are embellished with several styles of hand embroidery on a backdrop of tanned, dyed salmon skin and highlighted with hand-harvested and dyed porcupine quills and Swarovski crystals. It blends traditional Indigenous art materials with contemporary resources to tell the story of the Seven Dancers.”
Chayse Davey is a 21 year old Oji-Cree artist born in Toronto Ontario and resides in Kingston Ontario. Without any formal training, Chayse is a self-taught artist who specializes in painting with acrylic paints on any medium (canvas, wood, stone or birchbark). Starting at a young age, Chayse always had a passion for art. Drawing at any given time, to this day Chayse continues his passion. Chayse focuses on his Anishinaabe heritage through his artwork in the "woodland school" style of art created by the late Norval Morrisseau. This art style was created around ancient pictograph and birchbark scrolls of the Anishinaabe. Chayse, among other artists, keeps the tradition and cultural background of Anishinaabe artwork alive.
“My art focuses on a wide range of subjects within the cultural practices and beliefs of the Anishinaabe people. The Ojibwe nation to be specific.
The teachings of the Mishoomis (Grandfathers) and the understanding of our ways of life help my ability to paint these images, I do not create. Since every image I have painted already exists in one way or another. Whether it's a state of mind, supernatural in nature, or a legend passed through generations.
I draw my images out any time, anywhere. Most of the images come to me in the night. Where I will end up sketching out the image to later put onto canvas or any other medium.
Each image has meaning, has knowledge and personal medicine. As an artist who frequently sells my artwork, I find it hard to part ways with these paintings. But I hope that the very images that give me the medicine and healing, can then be put onto the buyer and/or viewer.
I was inspired by family friends and even relatives who are also Indigenous artists, and I had reached out to some in hopes of understanding why I feel so connected to this art style. And the replies I receive tend to follow the idea of that is the direction I will follow with my heart. And I agree with these replies, since the paintings I paint, the sketches, the stories and teachings all make me feel complete. Like I am heading down the correct path in life.”
Nitānis Greyeyes-Brant Barker is an Ottawa-based two spirit artist and self-taught beader from Muskeg Lake Cree Nation in Treaty 6 territory, Tyendinaga Mohawk Territory, England, and Ireland. They first began beading in elementary school as a means to connect with their ancestors and ground themself in their rich First Nations culture. Since then, Nitānis has evolved her practice to combine traditional teachings with contemporary practices and materials to create colourful, intricate, and deeply personal pieces. Nitānis’ beadwork touches upon themes of healing, cultural resistance, identity, and our connection to the natural world, resulting in a tangible record of her personal growth, artistic development, and spiritual journey.
“The making of this piece marks a period of change in my life, one that has compelled me to engage in deep reflection. As I make my journey around the medicine wheel, travelling from youth in the south to adulthood in the west, I carry with me feelings of nostalgia, heartbreak, anticipation, instability, and hope.
Beading is the medicine through which I process these uncertain feelings. As I sewed down each bead, some in scatters to represent turmoil and others in flowing lines to promote healing, I created a visual representation of the turmoil I face and the healing I seek. Throughout this process, I engaged in prayer, asking my ancestors to guide me on my next journey.
The final piece is a memory recorded. Someday, when I have travelled further along in my journey around the medicine wheel, I will be able to look at my nineteen year old self in these beads, recall the energy that defined this season of upheaval, and be reminded of where I once was.”
Carleigh Candice Mignonne Milburn
Carleigh Candice Mignonne Milburn, a proud member of the Métis Nation of Ontario, is an artist, educator, and Ph.D. candidate (ABD) in Cultural Studies with expertise in Indigenous studies, art education, and artificial intelligence. She teaches at Queen’s University and with the Limestone District School Board, and is the founder of Modern Métis Woman, a non-profit organization supporting Métis women across Canada. Her research and curatorial work focus on decolonization, repatriation, and Indigenous visual storytelling. Carleigh has received several awards, including a SSHRC grant and the Indigenous Art Fellowship, and leads digital media projects amplifying Indigenous youth voices.
In September 2026, she will begin working with the Royal Ontario Museum, focusing on their Métis cultural materials.
“Inspired by the Anishinaabe term Biskaabiiyang, meaning ‘we return to ourselves,’ ‘we make a round trip,’ and ‘we gather aspects of ourselves’, this work is a living creation, crafted with over 35,000 seed beads. The sculpture’s constant movement reflects Biskaabiiyang, while the two colours symbolize Two-Eyed Seeing a harmony of Indigenous and Western ways of knowing offering a visual expression of knowledge across diverse spaces. Being in circle and creating together fosters inclusivity, ensuring that no one is left behind. Bound by a friendship string, the blended colours form an unbroken circle, symbolizing care, reciprocity, and connection. This piece holds our stories, shared memories, and relationships. This work reflects our interconnection and the ongoing relationship with each other, the land, and all of our Nations.
This work has been featured in Making Sense of Decolonization and Mashkawizii Miinikaanan: Strong Seeds.”
Niiostoséra:ah Thompson
Niiostoséra:ah Thompson, known by her traditional name “Small Feather,” is a Mohawk multidisciplinary artist from the Haudenosaunee Confederacy. Her work blends traditional Indigenous techniques with modern aesthetics, specializing in raised beadwork, regalia design, quillwork, and couture fashion. She began beading at a young age, guided by her mother, and now creates art that honors cultural identity, storytelling, and resilience. Through her brand, Small Feather Empire, she crafts meaningful pieces that celebrate Indigenous excellence and empower others to connect with their heritage. Her creations are not only wearable art but lasting symbols of tradition, strength, and the beauty of Indigenous culture.
“These handmade moccasins mean so much to me because they carry the love, patience, and teachings passed down through generations. Every stitch reminds me of where I come from and the strong women who taught me to create with care and intention. The beadwork is incredibly beautiful—each design is thoughtfully placed, bursting with vibrant colors and meaning. But this particular pair is even more special to me. I made them during a dark time in my life, while my mom was in the hospital receiving treatment for leukemia. Creating them helped me keep my spirit grounded and gave me strength when I needed it most. They’re more than just moccasins—they're medicine, healing, and a reminder of resilience, love, and hope.”
Candice Martin, Jada Beck, Jaya Pardy, Emily Shostal, Cheyan Athanasiou, Monique Gingras, Samantha Trask, Shelley Young
Oji-Cree Nagagamisis/Morrison River & Fort Albany First Nation; Northwest Territories Metis Nation; Mi’kmaq Bear River First Nation; Sandy Bay Ojibwe First Nation; Serpent River First Nation; Red River Metis; Mi’kmaq Qalipu First Nation; Mi’kmaq Eskasoni First Nation
“Project Q: Representation Matters was created by a group of passionate Indigenous medical students at Queen’s University, driven by the desire to leave a meaningful mark and celebrate our united presence. Its diversity is reflected through the beadwork styles and designs, each representing the individuality of the artists and their communities. The piece is shaped like a ‘Q’ to symbolize the coming together of nations within the Queen’s medical program. Although each of us carries distinct cultures, teachings, and beliefs, we share a common goal: to show that representation matters and to offer comfort to others, reminding them that they are not alone.
Over the course of two years, we each hand-stitched beads to our own pieces while continuing to fulfill the academic commitments of our program as both pre-clerks and clerks. We take pride in this project as it commemorates the largest Indigenous student cohort in Queen’s Medicine to date. Beyond celebrating our presence, it stands as a symbol of representation for our ancestors, honoring the skills and traditions they passed down to us and reflecting how we can share that beauty with others as we continue along our own journeys.”