Entwined
Artist Biographies

Carrie Allison
(she/her)

Carrie Allison (nêhiýaw/Métis/mixed European descent) (she/her) is a multidisciplinary visual artist based in K’jipuktuk, Mi’kma’ki (Halifax, Nova Scotia). Her Métis and nêhiýaw family names are: Beaudry, Surprenant, Noskeye, and Payiw; her maternal roots and relations are based in and around maskotewisipiy (High Prairie, Alberta), Treaty 8. She grew up on the unceded and unsurrendered lands of the Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh), xʷməθkʷəy̓əm (Musqueam), and Tsawwassen Nations. Situated in K’jipuktuk since 2010, her practice responds to her maternal nêhiýaw and Métis ancestry, thinking through intergenerational cultural loss and acts of reclaiming, resilience, resistance, and activism, while also thinking through notions of allyship, kinship and visiting. Old and new technologies are combined to tell stories of the land, continuance, growth, and of healing. The work she makes is rooted in research and pedagogical discourses with the intent to share knowledge and garner understanding for complex histories, concepts, and possible futures. Allison holds a Master in Fine Art, a Bachelor in Art History, and a Bachelor in Fine Art from the Nova Scotia College of Art and Design University. In July 2025 Allison’s solo touring exhibition we tend to care, curated by Franchesca Hebert-Spence, will be exhibited close to her home territory in Grande Prairie, AB, before moving on to Urban Shaman and the Winnipeg Art Gallery (fall 2026 Winnipeg, MB), Daphne (summer 2026, Montreal, QC), and Mount Saint Vincent Art Gallery ( 2027, Halifax, NS). In 2024 Allison was long listed for the Sobey Art Award (as well as 2021) and her work they built fields of grass on sawdust: poplar was exhibited at the National Gallery of Canada in the largest beadwork exhibition Radical Stitch. Her work has been exhibited nationally and internationally, most notably Ociciwan, Edmonton, Art Centre New Jersey, New Jersey, The Textile Museum of Canada, Toronto, McMichael Canadian Art Collection, Vaughan, and McMaster Art Museum, Hamilton, ON. She has had solo exhibitions at Mount Saint Vincent University Art Gallery, the Owens Art Gallery, the Museum of Natural History, Access Gallery, and Mary E. Black Gallery. Allison has completed residencies at the Banff Centre for the Arts, the Natural History Museum (supported through Eyelevel ARC), Mount Saint Vincent University, and in 2021 she was the Indigenous Artist in Residence at the University of Guelph. She has received grants from Social Sciences and Humanities Research Council, Arts Nova Scotia and Canada Council for the Arts. Allison was the 2020 recipient of the Melissa Levin Award from the Textile Museum of Canada, and received the Emerging Artist Recognition Award from Arts Nova Scotia in 2021. 

Avarzamani holds an MFA from Central Saint Martins, London. Her work has been exhibited at the Dhaka Art Summit in Bangladesh and India (2023), the Aga Khan Museum, Toronto (2021), MOCA Toronto (2021), Toronto Biennial (2022), Koffler Centre of the Arts, Toronto (2019), Ab-Anbar Gallery, Tehran (2016), Asia House, London (2014), and she has participated in international residencies, including at the Delfina Foundation (2022) and SOMA Mexico City (2018). Her work is held in private and public collections, including the Art Gallery of Ontario, Google, Rockefeller Centre, Arsenal Contemporary, MOCA Toronto, TD Art Collection and Red Mansion.

Sara Angelucci
(she/her)

Sara Angelucci (she/her) is a Toronto-based artist working in photography, video, and audio. Her work in photography began as an exploration of it’s vernacular forms. Here she considered their original context and impetus to draw attention to conventions of image making, and the cultural role photography plays in framing particular stories, creating histories, and memorialization. Her interest lies in drawing our attention outside of the image frame, pointing to the social and historic conditions which are the unspoken basis of the image. Since 2013, Angelucci’s projects have deeply considered our fraught relationship with the natural world. She has worked with extinct and endangered bird specimens, created images with local forests, and is currently producing botanical images in Ontario and her family’s ancestral village in Italy. Sara Angelucci completed her BA at the University of Guelph and her MFA at the Nova Scotia College of Art and Design. She has exhibited her photography across Canada including exhibitions at the Art Gallery of York University, Le Mois de la Photo in Montreal, Vu in Quebec City, the Toronto Photographers Workshop, the MacLaren Art Centre, the Art Gallery of Hamilton, the Richmond Art Gallery, and the St. Mary’s University Art Gallery in Halifax. Her work has been included in exhibitions in the US, Europe, and China including the Canadian Cultural Centre in Paris, the Beijing Biennale, and the Lianzhou Photography Festival. Her videos have been screened across Canada and abroad, at festivals in Europe, China, Australia and the U.S. She has participated in artist residencies at the Art Gallery of Ontario, NSCAD (Halifax), the Banff Centre, and at Biz-Art in Shanghai. Angelucci has been the recipient of numerous grants from the Toronto Arts Council, the Ontario Arts Council and the Canada Council. In 2016 she received the prestigious Chalmers Fellowship from the OAC. She was longlisted for the Scotiabank photography award in 2022 and 2024. Angelucci is an instructor in photography at Toronto Metropolitan University. Her work is represented by the Stephen Bulger Gallery.

Alana Bartol
(she/they)

Alana Bartol (she/they) is a Canadian artist of Northern European settler descent. Their work reflects on how extractivist mindsets, rooted in their own culture’s tendency to see land and water as resources, continue to shape relations with the natural world. Through site-responsive projects, Alana interrogates extractive logics while creating possibilities for remediation and reciprocity. Rooted in more-than-human relations, their work has been presented nationally and internationally, including at Walter Phillips Gallery, Art Gallery of Alberta, Images Festival, and Berlin Feminist Film Festival. Longlisted for the Sobey Art Award in 2019 and 2021, Alana is an Assistant Professor at Alberta University of the Arts.

Ari Bayuaji
(he/him)

Ari Bayuaji (he/him) was born in Indonesia in 1975. He graduated as a civil engineer and worked in Indonesia before deciding to move to Canada permanently in 2005. Once in Montreal, he studied Fine Arts at Concordia University from 2005 to 2010 and now, based in Montreal he also develops his artistic practice in Bali. The artist is known mainly for his art installations that incorporate the use of found and ready-made objects he collects from various parts of the world, thereby exposing himself to the different cultural traditions. Ari Bayuaji is expert in conveying aspects of daily life within a culture as his works often expose the overlooked artistic value in everyday life expressed through objects and places and their roles within a society. The found or ready-made objects that compose his creative material might be “old", but he injects his work with emotion influenced by the contemporary issues he seeks to address to create the “content” as his artworks tocreate something “new." Ari Bayuaji has been traveling extensively internationally to participate in numerous artist-in-residency programs while also participating in international group shows inKorea, Taiwan, Denmark, Indonesia, Germany and The United States. His works are part of the permanent collection of Musée des Beaux Arts de Montréal, the Musée National des Beaux-Arts du Québec, Musée Pointe-à-Callière (Montreal), the Musée d'art contemporain de Montréal and have been exhibited in major solo exhibitions in Singapore, Taipei (Taiwan), Ste-Alvère (France), Dusseldorf (Germany), Rotterdam, (Netherlands), Toronto (Canada) Sydney (Australia), Bangkok (Thailand), Washington DC (USA), and Jogjakarta (Indonesia). Ari created installations of his work from his Weaving the Ocean project at the 2023 Cheongju Craft Biennale and the 2023 Busan Sea Art Festival in South Korea , 2024 Bangkok Art Biennale, Espace Pour la Vie at the Biosphère in Montreal (2013-2024), solo show at the Canadian Embassy in Tokyo in their Prince Takamoto Gallery (2025. The most recent  2 solo presentations in Japan were at GO FOR KOGEI 2025 in Toyama City and with  Roppongi Art Night in Tokyo, curated by Mori Art Museum. 

Katherine Boyer
(she/her)

Katherine Boyer (Métis/white Settler) (she/her) is a multidisciplinary artist, whose work is focused on methods bound to textile arts and the handmade - primarily woodworking and beadwork. Boyer’s art and research encompasses personal and family narratives, entwined with Métis history, material culture, queer theory, and architectural spaces (human made and natural). Her work often explores boundaries between opposing things as an effort to better understand sides of a perceived dichotomous identity. This manifests in long, slow, and considerate laborious processes that attempt to unravel and better understand history, environmental influences, and personal memories. Boyer is an MMF citizen and proud member of the Two-Spirit Michif Local. She has received a BFA from the University of Regina an MFA at the University of Manitoba and currently holds a position as an Associate Professor at the University of Manitoba, School of Art.

DaveandJenn
(they/them)

Jennifer Saleik and David Foy’s collaboration is based entirely on co-authorship. Working together under the moniker DaveandJenn, their joint practice has grown since 2004 to include painting, sculpture, installation, digital video and animation. Essential to their way of working is to experiment with materials, processes and form. Their work weaves a long view of human history, cultural memory and nature together with the more private and closed-off realms of daily life and personal observations. DaveandJenn hold BFAs from the Alberta College of Art and Design (now Alberta University of the Arts). Early recognition came through the RBC’s Canadian Painting Competition shortlist (2006, 2009), the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010), and the Sobey Art Award longlist (2011). They have been awarded grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, Alberta Creative Initiative Development and the Calgary Arts Development Agency. The Massachusetts Museum of Contemporary Art, Art Gallery of Hamilton, la Galerie de l’UQAM, Nickle Galleries, Glenbow Museum, Esker Foundation, Contemporary Calgary, Queen’s Square Gallery, The Esplanade Arts and Heritage Centre, Onsite Gallery and Dunlop Art Gallery have exhibited their art in solo and group exhibitions. A Forest Song, a major multi-sensory project commissioned for the BMO Project Room in Toronto was subsequently shown at Musée d’art de Joliette, the Art Gallery of Alberta and TrépanierBaer Gallery, where they are represented. DaveandJenn’s work is in private and public collections including the Royal Bank of Canada, Alberta Foundation for the Arts, Public Art Collection of the City of Calgary, Art Gallery of Hamilton, Art Gallery of Alberta, Glenbow Museum and Nickle Galleries.

Kuh Del Rosario
(she/her)

Kuh Del Rosario (she/her) is a visual artist based in Tiohtià:ke/Montreal, QC. Born in Manila, Philippines, she immigrated to Calgary, AB, where she earned a BFA in Painting from the Alberta College of Art and Design before completing an MFA in Sculpture and Ceramics at Concordia University. She has received numerous grants and awards, including the Peter Thompson Family Graduate Scholarship (2020), the Claudine & Stephen Bronfman Fellowship in Contemporary Art (2024), CALQ (2025), and the Canada Council for the Arts (2025). She is currently an artist-in-residence at Fonderie Darling (2023–26), supported by the Ouellette Family Foundation. Recent exhibitions include Déliquescence, plaisirs du chaos at Fonderie Darling (Sept. 2024), Réciprocités as part of Manifestation JE/ES, and the solo exhibition An Unhusked Grain of Rice Fills the Whole House at B-312 (Feb. 2025). Her installation Na Dadaanan was presented at Badlands Arts Department (Aug. 2025). Upcoming projects include the VIVA EXCON Biennale in Aklan, Philippines (Nov. 2025), and the group exhibition Entwined at Contemporary Calgary (Dec. 2025). Rooted in an intuitive engagement with everyday materials, Del Rosario’s practice transforms found debris into alchemic dialogues exploring time and place. Drawing from her diasporic experience, she cultivates a sensitivity to evolving ecosystems—her work serving as a strategy for grounding.

Anna Binta Diallo
(she/her)

Anna Binta Diallo (she/her) explores how memory and nostalgia coalesce to create unexpected narratives surrounding identity. Her work examines themes of migration, displacement, personal mythologies, diaspora, and the relationship between language, history, and identity. Diallo holds an MFA from the Transart Institute (Berlin) and a BFA from the School of Art, University of Manitoba. Her work has been exhibited nationally and internationally, including at institutions such as MOCA Taipei, SAVVY Contemporary (Berlin), Centre Clark, Contemporary Calgary, and Museum London (London, ON). In 2022, her work was featured in the 13th edition of the African Photography Biennial in Bamako, Mali. Diallo has received numerous grants and honors, notably from the Canada Council for the Arts and the Conseil des Arts et des Lettres du Québec. In 2022, she was longlisted for the prestigious Sobey Prize, and her works are part of various public and private collections. Currently, Diallo serves as an assistant professor at the School of Art at the University of Manitoba, located on Treaty 1 territory, the traditional lands of the Anishinaabeg, Ininiwak, Anisininewuk, Dakota Oyate, Dene, and the National Homeland of the Red River Métis. She is represented in Canada by Towards Gallery.

Emily Jan
(she/her)

Emily Jan (she/her) is an artist, writer, and educator currently based in Amiskwaciwâskahikan/Edmonton, AB, in Treaty 6 territory.  She creates intricately crafted, hyper-realistic installations of found objects inhabited by handmade flora and fauna and is guided in her work by the spirit of exploration, kinship, and curiosity. Jan has exhibited nationally and internationally, including exhibitions at the Textile Museum of Canada, the Doris McCarthy Gallery, the McIntosh Gallery, the Art Gallery of Southwestern Manitoba, the 10e Biennale Nationale de Sculpture Contemporaine, and upcoming at the Art Gallery of Alberta. Her 2022 collaboration with Catherine Blackburn, Ancestor Dreamin’, toured Canada and the United States with exhibition Radical Stitch and was acquired by the MacKenzie Art Gallery in 2023 through the generous support of the York Wilson Endowment Award (CCA). She teaches on the sculpture faculty at the University of Alberta and sits on the Board of Directors for Union House Arts, Port Union, NL. 

Tyler Los-Jones
(he/him)

Tyler Los-Jones (he/him) produces objects and images from his home near the Rocky Mountains of Alberta. His work aims to complicate inherited assumptions of environments and highlight unnatural aspects of the western conception of nature. Los-Jones is fascinated by the role that photography plays in shaping and fulfilling expectations for environments. Since graduating from the Alberta College of Art and Design (now Alberta University of the Arts) in 2007, Tyler Los-Jones’ photographic and sculptural work has been exhibited extensively across Canada and in the US. He has been commissioned to produce multiple large-scale public artworks, including A panorama protects its views for the Art Gallery of Alberta (Edmonton) and To Keep the Promise at the Calgary Airport Marriott In-Terminal Hotel. His most recent public artwork, Knit by roots and wings, was installed in Kelowna, BC, in September 2024.

Qavavau Manumie
(he/him)

Qavavau Manumie (he/him) was born in Brandon, Manitoba, in 1958, where his mother, Paunichea, was hospitalized for treatment of tuberculosis. He returned to Cape Dorset as a very young child and has lived there since. Manumie has demonstrated a range of stylistic abilities over the years – from the very literal to the more expressive. His work is idiosyncratic and often amusing in his depictions of Inuit legends and mythology, Arctic wildlife, and contemporary aspects of Inuit life. Manumie is the latest among the second generation to attract critical acclaim from the contemporary arts audience in the south. He and Shuvinai Ashoona have been profiled, along with Nick Sikkuark of Gjoa Haven, in the Winnipeg-based arts magazine, Border Crossings. He travelled to Toronto in June of 2008 for his first solo exhibition of original drawings, and in 2009 to Vancouver for another exhibition featuring his contemporary work. He was invited to attend an opening of his work in Victoria in the fall of 2012. For several years, Manumie has worked for the Kinngait Studios as a printmaker – first in the lithography studio and more recently, in the stonecut studio. He is an accomplished and precise printmaker who enjoys the opportunity to demonstrate printmaking techniques to young artists and visitors to the studio.

Jennifer Murphy
(she/her)

Jennifer Murphy (she/her) is a Toronto/Tkaronto-based artist working in collage, assemblage, and sculpture using upcycled and found materials. She examines the interconnectedness and interdependentness of our world and one another through lenses of resilience, wonder, chance, empathy, care, and transformation. Murphy has exhibited nationally and internationally including exhibitions at White Columns (New York), The Contemporary Art Gallery (Vancouver), Galerie Kunstbuero (Vienna), The Power Plant (Toronto), MOCA (Los Angeles), and Gallery 44 (Toronto). She has been long listed twice for the Sobey Art Award and has been an artist in residence at the Banff Centre and the Alternative Art School. She is represented by the Clint Roenisch Gallery in Toronto.

Latifa Pelletier-Ahmed
(she/her)

Latifa Pelletier-Ahmed (she/her) is a herbalist, botanist, artist and educator based in Carstairs, Alberta, Treaty 7 Territory. She is the co-owner of ALCLA Native Plants, a native plant plant nursery that supplies locally-sourced and genetically-diverse plants and seeds for nearly 200 grasses, wildflowers and shrubs. Her practice centres around engaging community with our more-than-human relatives as an antidote for extractive capitalist expansion, climate change, and malaise resulting from disconnection with the living world. She is formally qualified with a Master’s of Science in Herbal Medicine from London, UK and a Bachelor of Science in Botany from the University of Calgary.

Sabrina Ratté
(she/her)

Sabrina Ratté (she/her) is a Canadian artist based in Montreal. Her practice spans 3D animation, photogrammetry, analog video synthesis, digital printing, sculpture, and interactive installations, forming interconnected ecosystems across multiple platforms. Exploring the convergence of technology and biology, and the speculative evolution of our environment, her work investigates the porous boundaries between material and virtual realms, addressing the interplay between the organic, the synthetic, and the spiritual. She evokes worlds devoid of humans, where the remnants of past civilizations coexist with speculative mythologies. Her work has been shown internationally, including at the Montreal Museum of Fine Arts, the Centre Pompidou (Paris), PHI Centre (Montreal), the Max Ernst Museum (Brühl), and the Museum of the Moving Image (New York). She has presented solo exhibitions at La Gaîté Lyrique (Paris), Fotografiska (Shanghai), Arsenal Contemporary Art (Montreal and New York), and the MEET Digital Culture Center (Milan). Her work is held in the permanent collection of the Musée d’art contemporain de Montréal (MAC Montréal).

Sandra Sawatzky
(she/her)

Sandra Sawatzky (she/her) is a visual artist, storyteller, researcher and embroiderer, creating monumental textile installations that take years to make. With humour, and a keen eye she explores historical, consequential and topical subjects with a very small needle and miles of colourful wool and silk thread. Her work has been exhibited in Canada, Britain and the USA and has received national and international press from CBC National News and The Globe and Mail to The Guardian and Art in America.  The Calgary Herald named her a rising star in 2018. She received Calgary’s arts legacy award for outstanding artist in 2022. 

Adrian Stimson
(he/him)

Adrian Stimson (he/him) is a member of the Siksika (Blackfoot) Nation. He holds a BFA from the Alberta University for the Arts and an MFA from the University of Saskatchewan. Adrian is an interdisciplinary artist who exhibits nationally and internationally. His paintings are primarily monochromatic, often depicting bison in imagined landscapes. Melancholic, memorializing, and sometimes whimsical, they evoke ideas of cultural fragility, resilience, and nostalgia. Stimson is renowned for his performance art, particularly his persona, Buffalo Boy, whom he embodies to consider the hybridization of the Indian, the cowboy, the shaman and Two Spirit being. His installation work predominantly examines the residential school experience; he attended three residential schools in his life and has used the material culture from Old Sun Residential School on his Nation to create works that speak to genocide, loss, and resilience. Stimson was awarded the Governor General Award for Visual and Media Arts in 2018, Reveal Indigenous Arts Award – Hnatyshyn Foundation in 2017, Blackfoot Visual Arts Award in 2009, Alberta Centennial Medal in 2005, and the Queen Elizabeth II Golden Jubilee Medal in 2003.

tīná gúyáńí (deer road)

Glenna Cardinal & seth cardinal dodginghorse
(they/them)

tīná gúyáńí (deer road) is an artist collective from guts’ists’i / mohkinstsis (Calgary) consisting of parent/child duo Glenna Cardinal (Tsuut’ina/Saddle Lake Cree) and seth cardinal dodginghorse (Tsuut’ina/Amskapi Piikani/Saddle Lake Cree). In 2014, they were forcibly removed from their homes and ancestral land on the Tsuut’ina Nation for construction of the Southwest Calgary Ring Road. Their multidisciplinary practice honours their connection to land and explores the effects of environmental /psychological damage. tīná gúyáńí’s work is deeply based in culture, language, oral history, family photographs, and museum/archival research. Their art is an act of cultural preservation and a protest against ongoing settler colonialism.

Alberta Rose W. / Ingniq
(she/her)

Alberta Rose W. / Ingniq (she/her) is an Inuvialuk artist, curator, and preparator based in the Treaty 7 region of Alberta, Canada. She earned her Bachelor of Fine Arts with distinction from the Alberta University of the Arts, followed by a preparatory practicum at the Banff Centre for Arts and Creativity. Her practice involves painting, embroidery, beadwork, sculptural installation, video, and photography. She has participated in residencies at the Banff Centre, Contemporary Calgary, and the Calgary Central Library. Her work has been exhibited across Turtle Island. In 2021, Alberta received the honor of being named the TD Indigenous Artist of the Year in Calgary, Alberta.

Xiaojing Yan
(she/her)

Xiaojing Yan (she/her) is a China-born, Markham-based artist exploring how humans meet nature, where culture, ecology, and myth entwine. Working with Lingzhi mushrooms, pine needles, freshwater pearls, cicada shells, and plants, she builds artworks that test the boundary between the organic and the made. Informed by Chinese aesthetics, her work asks how memory, migration, and myth shape relations with the more-than-human world today. She exhibited at the Canadian Cultural Centre in Paris, Suzhou Museum, Sharjah Art Museum. Honors include the InStyle Women InCreation Prize and an Ontario Arts Council Chalmers Fellowship. Lingzhi Girl appeared on Art in America’s cover; she publishes in Leonardo (MIT Press).