Christina Battle
seeds are meant to disperse (2022)
December 6—31, 2025
Heather Edwards Theatre | 12-4 PM daily
seeds are meant to disperse is an ongoing project by Christina Battle that reflects on seeds as living archives, carrying both the memories of the earth and the possibilities of future growth. Since 2015, the artist has grown, saved, and shared seeds, often offering them as a gift. In so doing, she seeks to foster alternative systems of exchange and encourage others to envision a world that follows a different path from the one it is currently on.
Through seeds and their dissemination, seeds are meant to disperse (2022) reflects on political and ecological collapse through larger-scale gestures, as well as smaller, more intimate ones. Here, the artist looks at seed vaults as a means to preserve life in the face of catastrophe, both environmental and otherwise, while also considering gardening as a nurturing practice that connects us to the earth that we inhabit.
Battle references several seed vaults in this work. One of them, also called the Doomsday vault, is in Norway, and another is in Syria. In 2017, the former risked flooding as a result of permafrost melt, and the latter was destroyed during civil war, eventually getting re-established in Lebanon. These seed vaults, engineered to be death- and destruction-proof, are faintly reminiscent of Noah’s ark; but unlike the flood that ravages Noah’s world, the catastrophes that the seed vaults of today are subjected to and meant to withstand are entirely man-made.
Moving away from these sterile storage vaults, Battle invites us back into her home, sharing memories of her grandmother’s garden, though she acknowledges the fallibility of her own memory and the fact that she may not remember much. The artist, too, grows various things in her own home.
Gardening is a labour of care, but it is also a labour of time. Seeds take time to grow, to harvest, to prepare, and to share; even so, not all seeds will produce. Still, they carry the potential for life, and it is arguably that potential that we hold on to the most. The artist reminds us that “gardening slows everything down.” And it is precisely the time that we spend caring for these seeds and the fruit they may eventually bear that makes them valuable.
seeds are meant to disperse (2022) is being screened as part of This small parcel of earth, a two-part program curated by Muriel N. Kahwagi.
Access to this screening is included with admission. This program is presented in conjunction with Entwined, curated by Mona Filip.
The second work in this series is Nour Ouayda’s The Secret Garden (2023), on view from February 17-March 15, 2026, Wednesday to Sunday, 12-4 PM.
About the artist
Photo by: Zachary Ayotte
Christina Battle (she/her)
Christina Battle is an artist, curator, and writer based in amiskwacîwâskahikan (Edmonton), within the Aspen Parkland: the transition zone where prairie and forest meet. Her practice focuses on thinking deeply about the concept of disaster: its complexity and the intricacies entwined within it. She looks to disaster as a series of intersecting processes, including social, environmental, cultural, political, and economic, which are implicated not only in how disaster is caused but also in how it manifests, is responded to, and overcome. Battle’s practice prioritizes collaboration, experimentation, and failure; she has exhibited internationally in festivals and galleries as both artist and curator. Battle co-publishes and edits COI, a new online publication bridging the relationship between art and culture from the perspective of the Canadian Prairies.
This small parcel of earth
With works by Christina Battle and Nour Ouayda
Referencing an essay by Lydia Davis, titled “Cohabiting with beautiful weeds,” This small parcel of earth is a two-part screening program that looks at gardens as spaces that are both domestic and tender, but also unrestrained and untamable. Bringing together works by Christina Battle and Nour Ouayda, the program reflects on the garden as a site of care and sustenance, but also of disruption and unruliness, revealing the limits of human control.
In Christina Battle’s seeds are meant to disperse (2022), the garden emerges as a distillation of an intimate and durational practice of care. Through the slow, deliberate act of gardening, Battle reflects on the labor of tending: an act that sustains us both physically and emotionally, connecting personal rituals of nurture with larger ecological and collective rhythms. Referencing various seed vaults throughout the world, the artist looks at seeds not just at the first step of gardening, but as vessels of memory and possibility – carriers of both the traces of past lives and the potential for new ones.
Nour Ouayda’s The Secret Garden (2023) tells the story of a plant invasion that takes over an unnamed city, with plants erupting unexpectedly throughout the streets, unapologetically claiming space. Far from being a domestic agent, the garden here becomes an insurgent: a living force that resists ownership and control. Ouayda’s work reflects on the garden as a site of unrest and upheaval – of unpredictable, even disobedient growth that unsettles the boundaries between the natural world and the built environment.
Together, these works reimagine the garden as a site of both refuge and revolt, where acts of care and gestures of resistance coexist. They invite us to consider how cultivation – whether of plants or relationships – can also be an act of renewal.
Curated by Muriel N. Kahwagi.
This small parcel of earth is programmed in conjunction with Entwined, curated by Mona Filip.
