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DTSTART;TZID=America/Halifax:20251028T180000
DTEND;TZID=America/Halifax:20251028T200000
DTSTAMP:20260602T081659
CREATED:20251022T112602Z
LAST-MODIFIED:20251022T112602Z
UID:10000374-1761674400-1761681600@mayworkskjipuktukhfx.ca
SUMMARY:Closing Reception with Curtis Botham\, Eva Grant and Martha Mutale
DESCRIPTION:Join us for a casual conversations with the artists behind No Dominion/No Domain and my inner child healing my immigrant identity. \nCurtis Botham and Martha Mutale will be joining us in person\, and Eva Grant will be joining us via video call. All will be available to answer questions about their works on display only until October 31st. \nA brief facilitated Q&A will take place at 7PM. \nRefreshments will be served! \nARTIST BIOS:\n \nEva Grant is a Queer\, St̓át̓imc-Eurasian filmmaker\, curator\, and new media artist. She studied philosophy and literature at Stanford University and is the founder of Tooth & Nail Pictures. Her world-building practice hybridizes moving image\, animation\, game engines\, interactive digital media\, data visualization\, and speculative design to prototype decolonial and capacious futures. She is a former Sundance Native Lab fellow\, a BIPOC TV & Film Episodic Writers Lab participant\, an Artengine NEW SUNS Worldbuilding Lab artist-in-residence\, a Vancouver Queer Film Festival Programming Disruptor\, a Netflix-BANFF Diversity of Voices fellow\, an Art Gallery of Ontario AGO x RBC emerging artist-in-residence\, and an alumna of the imagineNATIVE Originals Commission program and the Screenwriting Shorts Fellowship. Her work has been supported by Mayworks Kjipuktuk\, Nocturne: Art at Night\, CFC Satellites\, Debaser/Pique Festival\, the Indigenous Curatorial Collective\, Lay*Away\, Black Star Film Festival’s William and Louise Greaves Filmmaking Seminar\, and the Ottawa Animation Festival\, and her films have screened at festivals around the world. \n \nCurtis Botham is an award-winning artist based in Halifax\, Nova Scotia. He graduated from NSCAD University in 2017 with a bachelor of fine arts. His accolades include the Canada Games Young Artist of Excellence Award\, and numerous grants from Arts Nova Scotia and the Elizabeth Greenshields Foundation. Since 2017\, he has depicted the impact and labour of industries in the Maritimes\, examining the social and environmental effects of material culture on our lives. He has participated in residencies around Nova Scotia in order to create a broad portrait of the province and its relationship to its land\, people and resources.\ncurtisbotham.weebly.com \n \nMartha Mutale is a poet and veteran of the spoken word scene in Kjipuktuk/Halifax\, Nova Scotia. She grew up in Billtown\, Nova Scotia\, a small rural community in the Annapolis valley after emigrating from Zambia with her family when she was just under two years old. Her family is based in Nova Scotia. As an adult\, she relocated to North End Halifax where she began expressing herself as a poet while also working in the non-profit sector. She has worked as a housing support worker where she witnessed first hand the vulnerability and social disposability of those who have lost their homes – especially immigrants who\, without citizenship\, are not allowed access to shelters. In December 2022\, Martha relocated to Zambia to start over\, reconnect with herself and apply to regain her Zambian citizenship. Having been raised in the Diaspora and having called Nova Scotia home since a young child\, she longs for her birth home\, Zambia\, and yearns to learn more about her roots. While in Lusaka\, waiting for her paperwork to be approved\, she volunteered her time in an art gallery and completed two residencies which constituted her first forays into visual arts. During her second residency\, she made six dolls\, five feet long\, all sewn and painted by hand using upcycled textile fabrics and African materials she found while living in Lusaka\, Zambia. Martha is healing her inner child and making room for new and exciting adventures that await her in the future.
URL:https://mayworkskjipuktukhfx.ca/event/closing-reception-with-curtis-botham-eva-grant-and-martha-mutale/
LOCATION:The Khyber Centre for the Arts\, 1880 Hollis St\, Halifax\, Nova Scotia\, B3J 1W6\, Canada
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/png:https://mayworkskjipuktukhfx.ca/app/uploads/2025/10/Reception-Slide.png
ORGANIZER;CN="Mayworks Kjipuktuk/Halifax":MAILTO:info@mayworkskjipuktukhfx.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251011
DTEND;VALUE=DATE:20251101
DTSTAMP:20260602T081659
CREATED:20250904T141921Z
LAST-MODIFIED:20251022T112656Z
UID:10000372-1760140800-1761955199@mayworkskjipuktukhfx.ca
SUMMARY:No Dominion/No Domain
DESCRIPTION:Presented in partnership with the Khyber Centre for the Arts and Nocturne\nMayworks Kjipuktuk/Halifax presents No Dominion/No Domain\, where Eva Grant and Curtis Botham trace land\, life\, labour\, and pathways across speculative digital ancestral architectures and charcoal industrial landscapes. \n“Homeless Shelters Before Police Raid” by Curtis Botham\nNo Dominion/No Domain brings together two artists\, Eva Grant and Curtis Botham\, whose works reflect on land\, labour\, infrastructure\, and ecological movement. Presented by Mayworks Kjipuktuk/Halifax and hosted at the Khyber Centre for the Arts\, the exhibition runs October 11-31\, 2025. Events include Nocturne: Art at Night Festival from 6PM-12AM on Saturday\, October 18\, and a closing reception Tuesday\, October 28th 6PM-8PM. \nEva Grant’s WILD INTERFACE is a work of St’át’imc speculative futurism that reimagines longhouses and Salish structures as though assembled from salmon bones. These digital works depict architecture not as idealized pasts or utopian elsewheres\, but as living interfaces: porous inter-species networks where technologies and ancestral knowledge converge. Through computational geography and postnatural territories\, Grant reconsiders space and place as co-constructed with ecologies\, where memory and labours of love entwine. \nCurtis Botham’s Effluents and Urban projects confront the landscapes of extraction that underpin industrial modernity. His large-scale charcoal drawings—made in a volatile medium that mirrors the precarity of his subject matter—document the sites of resource economies on Mi’kma’ki/Nova Scotia and their cascading impacts: inequities of wealth\, the precarity of workers\, and the hidden infrastructures behind everyday consumer life. Botham traces these environments with stark fidelity\, inviting viewers to recognize their own embeddedness in these cycles of labour and consumption. \nTogether\, Grant’s and Curtis’ works stage a dialogue on dominion—over land\, life\, and labour—and on domains\, whether in digital terrains of speculative ancestral architectures or in the charcoal-rendered landscapes and machinery of industrial capitalism. \nNo Dominion/No Domain invokes the dual refusal of control and possession within colonial constructs and systems. The title\, created by Grant\, arose in response to the effectiveness of messaging between the blend of analog and virtual material. Through charcoal and digital works\, the exhibition resists the illusion of permanence that dominion or domain implies. Charcoal\, itself the residue of combustion\, unsettles the idea of industry as stable progress\, while Grant’s architectures utilize the digital realm to glitch and dissolve systemically oppressive boundaries. Both practices gesture towards knowledge\, labour\, and survival beyond grids of ownership. \nDigital piece from the WILD INTERFACE series by Eva Grant\nARTIST BIOS:\n \nEva Grant is a Queer\, St̓át̓imc-Eurasian filmmaker\, curator\, and new media artist. She studied philosophy and literature at Stanford University and is the founder of Tooth & Nail Pictures. Her world-building practice hybridizes moving image\, animation\, game engines\, interactive digital media\, data visualization\, and speculative design to prototype decolonial and capacious futures. She is a former Sundance Native Lab fellow\, a BIPOC TV & Film Episodic Writers Lab participant\, an Artengine NEW SUNS Worldbuilding Lab artist-in-residence\, a Vancouver Queer Film Festival Programming Disruptor\, a Netflix-BANFF Diversity of Voices fellow\, an Art Gallery of Ontario AGO x RBC emerging artist-in-residence\, and an alumna of the imagineNATIVE Originals Commission program and the Screenwriting Shorts Fellowship. Her work has been supported by Mayworks Kjipuktuk\, Nocturne: Art at Night\, CFC Satellites\, Debaser/Pique Festival\, the Indigenous Curatorial Collective\, Lay*Away\, Black Star Film Festival’s William and Louise Greaves Filmmaking Seminar\, and the Ottawa Animation Festival\, and her films have screened at festivals around the world. \n \nCurtis Botham is an award-winning artist based in Halifax\, Nova Scotia. He graduated from NSCAD University in 2017 with a bachelor of fine arts. His accolades include the Canada Games Young Artist of Excellence Award\, and numerous grants from Arts Nova Scotia and the Elizabeth Greenshields Foundation. Since 2017\, he has depicted the impact and labour of industries in the Maritimes\, examining the social and environmental effects of material culture on our lives. He has participated in residencies around Nova Scotia in order to create a broad portrait of the province and its relationship to its land\, people and resources.\ncurtisbotham.weebly.com \nHOURS & EVENTS:\nExhibition on view: October 11-31\, 2025 \nGallery hours: 12-5PM Tuesday-Saturday + events \nAppointments/contact: info@khyber.ca \nAccessibility notes: www.khyber.ca/access \nNocturne hours: 6PM-12AM\, Saturday\, October 18\, 2025 \nClosing reception: Tuesday\, October 28th 6PM-8PM – Click here for details \nPresented concurrently with my inner child healing my immigrant identity
URL:https://mayworkskjipuktukhfx.ca/event/no-dominion-no-domain/
LOCATION:The Khyber Centre for the Arts\, 1880 Hollis St\, Halifax\, Nova Scotia\, B3J 1W6\, Canada
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/png:https://mayworkskjipuktukhfx.ca/app/uploads/2025/09/No-Dominion-No-Domain-Slide.png
ORGANIZER;CN="Mayworks Kjipuktuk/Halifax":MAILTO:info@mayworkskjipuktukhfx.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251011
DTEND;VALUE=DATE:20251101
DTSTAMP:20260602T081659
CREATED:20250915T180222Z
LAST-MODIFIED:20251022T112753Z
UID:10000373-1760140800-1761955199@mayworkskjipuktukhfx.ca
SUMMARY:my inner child healing my immigrant identity
DESCRIPTION:Presented in partnership with the Khyber Centre for the Arts and Nocturne\nmy inner child healing my immigrant identity by Martha Mutale explores the immigrant experience – the self split between two homes. A series of rag dolls where each figure represents a point in time in the immigrant life\, softly positioned in space\, while the whole assemblage provides a grounded picture of who she is. Presented by Mayworks Kjipuktuk/Halifax and hosted at the Khyber Centre for the Arts\, the exhibition runs October 11-31\, 2025. Events include Nocturne: Art at Night Festival from 6PM-12AM on Saturday\, October 18\, and a closing reception Tuesday\, October 28th 6PM-8PM. \n \nmy inner child healing my immigrant identity is a continuation of Martha Mutale’s exploration of the immigrant experience through the making and presentation of rag dolls fabricated from Zambian fabrics overlaid with printed words. Each of the 40 inches tall dolls represents a different part of her life as an immigrant living in the Diaspora and what it means to hold two different identities grounded in two different homes – Canada and Zambia. What does it mean to call two places home at once? What does it mean to always have a foot in both worlds\, to feel unmoored by this dual self? What are the different ways in which each of these places is home and for which reasons? \nMutale was confronted with these questions when she returned to her birth home during her adult life. Everyday\, taxi drivers (themselves migrants from neighbouring African countries) would ask her about herself and where she came from. Growing up in Nova Scotia\, one of Mutale’s most vivid and concrete connections to Zambian culture was the process through which she and her sisters would continually measure each others’ bodies in order for their mother to sew clothing for them made of African fabric. These experiences and memories\, along with her love of poetry\, have been the crucible for her ongoing series of projects using rag dolls to convey her sense of identity. \nThe process of crafting is a journey in itself and the tactile medium of textiles provide for Mutale a method of self-exploration that is both meditative and very concrete at once. For my inner child healing my immigrant identity\, the dolls (smaller than in previous explorations) will be installed as a diorama in the window gallery of the Khyber Centre for the Arts through which passersby can windowgaze into Mutale’s life. As Mutale represents different facets and waypoints in her life through each rag doll\, she presents a fragmented picture of herself. The soft sculptures each convey a lack of weight and definite attachment to the ground. And yet\, the depiction of Mutale’s life as a whole through their assemblage in space\, all together\, offers her (and the observer) a sense of groundedness provided by the material expression of her identities and the added value of a sum crystallised by the joining of its parts. \nARTIST BIO\n \nMartha Mutale is a poet and veteran of the spoken word scene in Kjipuktuk/Halifax\, Nova Scotia. She grew up in Billtown\, Nova Scotia\, a small rural community in the Annapolis valley after emigrating from Zambia with her family when she was just under two years old. Her family is based in Nova Scotia. As an adult\, she relocated to North End Halifax where she began expressing herself as a poet while also working in the non-profit sector. She has worked as a housing support worker where she witnessed first hand the vulnerability and social disposability of those who have lost their homes – especially immigrants who\, without citizenship\, are not allowed access to shelters. In December 2022\, Martha relocated to Zambia to start over\, reconnect with herself and apply to regain her Zambian citizenship. Having been raised in the Diaspora and having called Nova Scotia home since a young child\, she longs for her birth home\, Zambia\, and yearns to learn more about her roots. While in Lusaka\, waiting for her paperwork to be approved\, she volunteered her time in an art gallery and completed two residencies which constituted her first forays into visual arts. During her second residency\, she made six dolls\, five feet long\, all sewn and painted by hand using upcycled textile fabrics and African materials she found while living in Lusaka\, Zambia. Martha is healing her inner child and making room for new and exciting adventures that await her in the future. \nHOURS & EVENTS:\nExhibition on view: October 11-31\, 2025 \nGallery hours: On display in the window gallery 24/7 | Open hours: 12-5PM Tuesday-Saturday + events \nAppointments/contact: info@khyber.ca \nAccessibility notes: www.khyber.ca/access \nNocturne hours: 6PM-12AM\, Saturday\, October 18\, 2025 \nClosing reception: Tuesday\, October 28th 6PM-8PM – Click here for details \nPresented concurrently with No Domain / No Dominion
URL:https://mayworkskjipuktukhfx.ca/event/my-inner-child-healing-my-immigrant-identity/
LOCATION:The Khyber Centre for the Arts\, 1880 Hollis St\, Halifax\, Nova Scotia\, B3J 1W6\, Canada
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://mayworkskjipuktukhfx.ca/app/uploads/2025/09/Doll-Slide.jpg
ORGANIZER;CN="Mayworks Kjipuktuk/Halifax":MAILTO:info@mayworkskjipuktukhfx.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210630
DTEND;VALUE=DATE:20210725
DTSTAMP:20260602T081659
CREATED:20210404T173918Z
LAST-MODIFIED:20210729T143741Z
UID:10000200-1625011200-1627171199@mayworkskjipuktukhfx.ca
SUMMARY:TOIL HERE
DESCRIPTION:Works From Rural Mi’kma’ki\n\nPresented in partnership with the Khyber Centre for the Arts\n \n\nDOWNLOAD OUR PROGRAM APP FOR ALL EVENT & TICKET UPDATES\n   \n\nTOIL HERE is a group exhibition and curatorial collaboration between the Mayworks Kjipuktuk/Halifax Festival and the Khyber Centre for the Arts. Featured in this exhibition are works by artists Alex Antle\, Antoinette Karuna\, Clara Gough\, Curtis Botham\, Heather Cromwell\, Kim Cain\, and Michelle Roy\, as well as by Mi’kmaq water protectors Cathy Martin\, Gnat Na’pi\, and Darlene Gilbert. Using the languages of traditional domestic craft and fine art\, the artists explore different facets of rural life\, labour and justice\, and together disrupt stereotypical notions of what rural “Maritime” art can be and speak to. \nA video tour of TOIL HERE will be released at a later date as a complement to the exhibition. The video will contain captioned interviews with each of the artists. \n\nVIDEO TOUR\n \nVideo by Keltic Kreative \nArtist Interviews\nArtist and water protectors discuss the art in TOIL HERE and water protection on Mi’kma’ki.\n\n \nThe Khyber Centre for the Arts · TOIL HERE: Works from rural Mi’kma’ki\n\nARTWORKS IN TOIL HERE\n“Pulp Mill\, Abercrombie” by Curtis Botham\n  \nTOIL HERE opens with original audio\, also available as a transcription\, from Catherine Anne Martin\, Gnat Na’pi\, and Thunderbird Swooping Down Woman (Darlene Gilbert). Upon entering and while viewing the exhibition\, and online\, visitors can hear or read as these Mi’kmaq water protectors each speak to labour and water protection on Mi’kma’ki. \nAlex Antle’s Sple’tk is a watershed map of the Exploits River beaded onto a tan moose hide and hung from a scraped birch tree. The River is located in the central region of Ktaqmkuk (Newfoundland) where Alex grew up. This work explores the importance of clean water and the many uses of the River. Both L’nu and settlers have utilized the water for labour and enjoyment. \nAntoinette Karuna’s hooked rug wall hangings are part of an autobiographical series. Untitled 1 and Untitled 2 explore the spiritual aspects of erotic love\, distanced from the male gaze and existing within the private sphere of the Treaty Relationship\, as Karuna is settler and her partner is Mi’kmaq. Untitled 3 examines Karuna’s biracial identity\, which is Sri Lankan Tamil (brown) and French Canadian (white)\, and how despite pressures from monoracial society to choose one racial identity over another\, she experiences her biraciality as fluid and complex. Formally\, her rugs draw on her background as a filmmaker\, mixing the language of textiles with that of cinema––notably cinematographic and storytelling principles. \nDetail of “Sple’tk” by Alex Antle\nClara Gough’s life sized figurative basket sculptures present different forms of labour: one a parent carrying a child and the other a depiction of the artist’s father carrying tools. Gough reinvents the traditional basket weaving techniques passed down in her community to depict iterations of labour and the community itself. \nCurtis Botham’s Pulp Mill\, Abercrombie is a black and white\, photo-realistic charcoal drawing as part of his ‘Effluents’ series of drawings that depict worker’s solidarity\, economic justice and environmental impact of industry in rural Mi’kma’ki. Drawn from observational sketches\, Curtis has illustrated the environmental devastation that can be caused from unsustainable\, under-regulated pulp industries. \n“Untitled 1” by Antoinette Karuna\nSecret Codes by Heather Cromwell is a vibrant series of picture quilts The Dance\, Betty Hartley and Grandma’s Hands depicting Black Nova Scotian women\, labour\, love and stories from the community. This work came out of a project by the Black Artists’ Network of Nova Scotia (BANNS) and the Vale Quilters\, where quiltmakers created from drawings made by Halifax artist-curator David Woods\, and documented travels to African Nova Scotian communities across the province. Grandma’s Hands will be on view as part of TOIL HERE. \nTilling and burying: Red Earth\, Black Death by Kim Cain is a piece about dualities of life/death\, growth/pruning\, joy/ sorrow. The red earth sets the background for the preparation of the land for planting\, with cattle and farmers preparing the soil. Black death is actualized with the central sight of the pallbearers carrying a casket towards a waiting plot. \nMichelle Roy’s Mi’kmaq regalia pieces include a toddler’s regalia\, a prom dress\, and a special jingle dress\, in representation and honoring of Missing and Murdered Indigenous Women\, Girls\, and Two-Spirit and to celebrate the strength\, labour and determination of Mi’kmaq mothers\, sisters\, aunties\, wives\, and daughters and the central role of women in struggles for Indigenous justice. \n\nARTIST BIOS\nALEX ANTLE (she/her) is an emerging L’nu beadwork artist located on the North Shore of Elmastukwek\, Ktaqmkuk (Bay of Islands\, Newfoundland). She has been learning and practicing beadwork for four years with the guidance of a community of Mi’kmaq beaders. Alex’s art often explores the relationship between tradition and living culture\, as well as the importance of land and water. \nANTOINETTE KARUNA (she/her) is a visual artist working in textiles and film. She is Tamil Sri Lankan through her father and French Canadian through her mother. Karuna spent her childhood in London\, England\, and later a decade each in Montreal and Berlin. She now lives in Antigonish\, where she works as a freelance writer and editor and teaches filmmaking at St. Francis Xavier University. \nCLARA GOUGH (she/her) is a basketmaker and sculptor based in East Preston. She carries on the traditional basket weaving taught to by her mother Edith Clayton\, a renowned African Nova Scotian basketmaker. Though strongly influenced by her mother’s techniques\, Gough has imprinted her own unique style on the craft. In 1998 she began creating figurative basket sculptures inspired by her family and community. Clara is a member of the Black Artists’ Network of Nova Scotia (BANNS)\, a non-profit\, multi-disciplinary arts association that seeks to develop the African Nova Scotian arts community. \nCURTIS BOTHAM (he/him) is a white visual artist interested in rural Maritime industries. After graduating from NSCAD University in 2017\, he spent a year in New Glasgow’s Artist Residency program where he made a series of large-scale charcoal drawings dealing with the impact of industry on the environment and nearby communities. \nHEATHER CROMWELL (she/her) is an artist and quiltmaker based in New Glasgow. She grew up watching her mother and grandmother making quilts and took on the craft in her thirties. Heather is a member of the Black Artists’ Network of Nova Scotia (BANNS). She is also part of The Northumberland Quilters Guild\, one of the largest quilt guilds in Nova Scotia. In 2007\, she joined forces with several African Nova Scotian women in New Glasgow to form the Vale Quilters Association – a group interested in exploring African North American quiltmaking traditions and promoting the heritage of Pictou County’s Black community. \nKIM CAIN‘s (she/her) work explores the African Canadian existence here in Canada and how it relates to the larger global African Diaspora. She has been using Art as a means of allowing an African Nova Scotianess to emerge into the black art canvas for over 20 years. She explains that her work begins inside of her\, altering her perception of the world\, and through that inward glance her creativity is born. \nMICHELLE ROY (she/her) is an artist and Mi’kmaq knowledge keeper\, a regalia maker\, a mother of two daughters\, a wife\, a sister\, and auntie\, and a person living with a disability. She lives off reserve on her ancestral homeland of Mi’kma’ki\, the traditional territory of the l’nu – the Mi’kmaq. She is an active community member of Acadia First Nation. Michelle has been creating regalia and artwork for the last decade and it has led her to a path to engage in conversations that bring attention to struggles\, mental health\, and to celebrate Mi’kmaq culture. \nCATHERINE ANNE MARTIN (she/her) BA MEd. CM. is a member of the Millbrook Mi’kmaw Community\, Truro\, NS. She is an independent international award winning director and producer\, writer\, facilitator\, communications consultant\, community activist\, teacher\, drummer\, and the first Mi’kmaw woman filmmaker from the Atlantic region. She is a recipient of the Order of Canada in 2017 and is presently the first Indigenous Community Engagement Director for Dalhousie University. She is a past Chair of APTN and served on the board for the first five years of its inception. She has contributed to policy and institutional change to make cultural and arts more accessible to First Nations artists. \nGNAT NA’PI (she/her)\nNatalie is first\, a full time/home educating mother. They decolonize curriculum and advocate for Mi’kmaq sovereignty. They are an anti-homelessness advocate who’s practice is grounded in anti-capitalist\, anti-homophobic and anti-racist practices. For MayWorks they hope to utilize the creative space to motivate residents of Mi’kmaki to uphold treaty and collectively dream of a Mi’kmaq led anti-capitalist reality. You can support their work by donating to water and land defenders in your area\, and to the Treaty Truckhouse Legal fund (gofundme). \nThunderbird Swooping Down Woman\, DARLENE GILBERT (she/her) is from Kjipuktuk\, Mi’kma’ki and a member of Annapolis Valley First Nation. Born in 1965\, grandmother and Treaty Defender (water protector and land defender). Clan is Toney\, beanstalk clan.
URL:https://mayworkskjipuktukhfx.ca/event/toil-here/
LOCATION:The Khyber Centre for the Arts\, 1880 Hollis St\, Halifax\, Nova Scotia\, B3J 1W6\, Canada
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/png:https://mayworkskjipuktukhfx.ca/app/uploads/2021/04/MW-2021-Web-Rural-Artists-M-SM2.png
ORGANIZER;CN="The Khyber Centre for the Arts":MAILTO:info@khyber.ca
END:VEVENT
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