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Sobey Art Award – West Coast and Yukon

  Back to 2022 longlist

 

Derya Akay

Derya
Akay

Rydel Cerezo

Rydel
Cerezo

Karin Jones

Karin
Jones

Krystle Silverfox

Krystle
Silverfox

Shortlisted artist
Manuel Axel Strain

Manuel
Axel Strain

 
Krystle Silverfox

Photo: Courtesy of the artist

Krystle Silverfox 
—

Interdisciplinary artist Krystle Silverfox is a member of the Selkirk First Nation (Wolf Clan). She currently lives and works on the territory of the Tr’ondëk Hwëch’in (Dawson City, Yukon). Silverfox has a BFA in Visual Art (2015), a B.A. in Gender, Race, Sexuality and Social Justice from UBC (2013), and an MFA in Interdisciplinary studies from Simon Fraser University (2019).

Her artistic practice explores different materials, methodologies, and symbols to create conceptual works. Silverfox is inspired by Indigenous feminism, trans-nationalism, de-colonialism, activism and lived experience.

 

Krystle Silverfox, tth’í’ yáw nan (threads beads land), 2018. Digital collage.

Krystle Silverfox, tth’í’ yáw nan (threads beads land), 2018. Digital collage, dimensions variable, 71.1 x 55.9 cm. © Krystle Silverfox. Photo: Courtesy of the artist

Krystle Silverfox, Royal Tease, 2020. Inkjet print.

Krystle Silverfox, Royal Tease, 2020. Inkjet print, 142.2 x 86.4 cm. © Krystle Silverfox. Photo: Courtesy of the artist

 
Derya Akay

Photo: Courtesy of the artist

Derya Akay
—

Derya Akay lives on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. Selected group and solo exhibitions include What Water Knows, The Land Remembers — the Toronto Biennial of Art (2022), Meydan at The Polygon Gallery in Vancouver (2021), Contact Traces at the CCA Wattis Institute in San Francisco (2021), The Neighbour’s Plate at Unit 17 in Vancouver (2020), The Lulennial II: A Low-Hanging Fruit at Lulu in Mexico City (2018), HERE: Locating Contemporary Canadian Artists at the Aga Khan Museum in Toronto (2017), with bread at the Campbell River Art Gallery in Campbell River, British Columbia (2017), and Pumice at Del Vaz Projects in Los Angeles (2017).

 

Derya Akay, Hanging fruit , 2020. 3D-printed replica of coat hanger, cedar coat hanger, copper, plastic fruit and vegetables, mesh bags, plastic bags, plastic balls, pomegranate, screws, sheep’s wool, wine bottles.

 

Derya Akay, Seyyar (eskici), 2021. Wood, bicycle parts, rotating selection of offerings.

Derya Akay, Seyyar (eskici), 2021. Wood, bicycle parts, rotating selection of offerings, 140 x 80 x 190 cm. © Derya Akay. Photo: Courtesy Unit 17, Rachel Topham Photography

—

Derya Akay, Hanging fruit , 2020. 3D-printed replica of coat hanger, cedar coat hanger, copper, plastic fruit and vegetables, mesh bags, plastic bags, plastic balls, pomegranate, screws, sheep’s wool, wine bottles, 70 x 60 x 40cm. © Derya Akay. Photo: Courtesy Unit 17, Rachel Topham Photography

 
Rydel Cerezo

Photo: Angie Rico

Rydel Cerezo
—

Rydel Cerezo works on the unceded territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. Cerezo’s work investigates the spaces between sexuality, religion and race, with an interest in how these disparate themes metaphorically and visually coalesce.

Cerezo’s work Am I a Sea has been exhibited internationally at Aperture Foundation in New York City and at the Vogue Italia Festival in Milan, and was first runner-up for The Polygon Gallery’s Lind Prize. Cerezo has a BFA from Emily Carr University of Art + Design.

 

Rydel Cerezo, Sunday Afternoon in Genk, 2019. Archival pigment print.

Rydel Cerezo, Sunday Afternoon in Genk, 2019. Archival pigment print, 76 x 61 cm. © Rydel Cerezo. Photo: Courtesy of the artist

Rydel Cerezo, Wailing Woman, 2021. Archival pigment print.

Rydel Cerezo, Wailing Woman, 2021. Archival pigment print, 91 x 114 cm. © Donganisa, Rydel Cerezo. Photo: Courtesy of the artist

 
Karin Jones

Photo: Damon Forster

Karin Jones 
—

Karin Jones is an interdisciplinary artist with a background in jewellery. She received a Diploma in Jewellery Art and Design from Vancouver Community College in 1993, before embarking on a more than twenty-year career as a goldsmith and independent artisan. Since 2007, her work has moved away from traditional jewellery and into contemporary art.

In 2018, Jones received an MFA in Craft from NSCAD University, where she began her recent work dealing with the ways historical narratives shape our sense of identity. Her work is held in the permanent collections of the Royal Ontario Museum, the Vancouver Art Gallery, and the Metal Museum (Memphis, Tennessee).

 

Karin Jones, Worn: Shaping Black Feminine Identity, 2015. Cotton, synthetic hair, cotton bolls, human hair.

 

Karin Jones, The Golden Section 7, 2021. Vinyl mesh, human hair.

Karin Jones, The Golden Section 7, 2021. Vinyl mesh, human hair, 122 cm x 122 cm. Collection of the Artist. Photo: Dennis Ha

—

Karin Jones, Worn: Shaping Black Feminine Identity, 2015. Cotton, synthetic hair, cotton bolls, human hair, dimensions variable. 2016.13.1 Courtesy of the Royal Ontario Museum and the artist. Installation view at the Royal Ontario Museum. Photo: Eydis Einarsdottir

 
Manuel Axel Strain

Photo: Eric Strain

Manuel Axel Strain
—

Manuel Axel Strain is a 2-Spirit artist from the lands and waters of the xʷməθkʷəyəm (Musqueam), Simpcw and Syilx peoples, based in the sacred homelands of their q̓ ic̓əy̓ (Katzie) and qʼʷa:n̓ ƛʼən̓ (Kwantlen) relatives.

Strain creates work in collaboration with, and in reference to family, where shared experiences become a source of agency. Strain’s work across multiple mediums incorporates content related to ancestral and community ties, Indigeneity, labour, resource extraction, gender, Indigenous medicine and life forces.

Strain’s work confronts and undermines the imposed realities of colonialism, proposing a new space beyond its oppressive systems of power.

 

Manuel Strain, Me cutting through a white lady to reveal my mom picking medicine in home lands, 2021. Oil on canvas.

Manuel Strain, Me cutting through a white lady to reveal my mom picking medicine in home lands – Tsník’stn r séme7 te núxwenxw es cwít’se ren kí7ce ec t’eq’wléwmes te meláme ne Secwepemcúl’ecw, 2021. Oil on canvas, 213.3 x 152.4 cm. © Manuel Strain. Photo: Vancouver Art Gallery

Manuel Strain, qné7e says tá7a, 2021.

Manuel Strain, qné7e says tá7a, 2021. Stolen white picket fence, artificial grass superimposed over deer hide (gifted by mother Tracey Strain and prepared by Molly Toodlican), photo of great grandmother laser etched into birch and acrylic, braided deer hide, pigeon feather. Dimensions variable. © Manuel Strain. Photo: SD Holman

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