tth’í’ yáw nan (thread beads land) (triptych), 2018
3 inkjet prints, AP
55.9 x 71.1 cm each (unframed)
58.7 x 74.0 cm each (framed)
Courtesy of the Artist
In tth’í’ yáw nan (thread beads land), Krystle Silverfox overlays photography of the streets of Vancouver with scanned images of beads, which she uses as stand-ins for Indigenous peoples in landscapes that are otherwise devoid of figures. As an artist of the Selkirk First Nation, Silverfox identifies beading as an important cultural practice for herself, as well as for many other Indigenous people. In placing beads over the landscape, Silverfox points to the complicated history of the terrain in this region and the possibilities for a different, yet-to-be imagined future. This series conjures the long history of landscape painting and photography, but in the acts of purposefully blurring and abstracting the scenes to create painterly and unspecific images of these sites, and superimposing beads, the artist simultaneously dismantles and extends cultural traditions.
Silverfox has exhibited at such venues as Gallery Gachet, Vancouver; Kwanlin Dün Cultural Centre, Whitehorse; and Yukon Arts Centre, Whitehorse, amongst others. She has participated in numerous residencies and artist initiatives, including the Banff Centre’s Emerging Visual Artist Intensive; the Shakaat Artist Residency Program hosted by the Kwalin Dün Cultural Centre, Whitehorse; and the AGO X RBC Emerging Artists Exchange, Toronto. Silverfox was shortlisted for the 2022 Sobey Art Award. She currently teaches at the Yukon School of Visual Arts.
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