The installation Orison / Oraison is intended as a response to the artist’s heartrending stories in The Scar Project, from 2005 to 2013. This was a participatory project in which people were invited to embroider a depiction of a personal scar on a canvas, using threads and fibres. Comprising photographs, sculptures and sound elements, it explores the indelible nature of memory and the way events remain alive in our bodies. The installation transports visitors to a place of contemplation, encountering the memory of others, in a space intended as an ode to reconciliation. It consists of large digital prints showing unseen sides of the Indian Act, a wicker basket filled with tobacco and a red fishing net that rises and falls to the rhythm of breathing.
Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishinabeg First Nation. For over a decade, her multi-disciplinary practice has been inspired by participant involvement as well as recurring themes of identity, language, longing and loss. Myre is a graduate from Camosun College (1995), Emily Carr (1997), and Concordia University (MFA, 2002), and a recipient of numerous grants and awards, notably: Sobey Art Award (2014), Pratt & Whitney Canada’s ‘Les Elles de l’art for the Conseil des arts de Montréal (2011), Quebec Arts Council’s Prix à la création artistique pour la region des Laurentides (2009), and a Fellowship from the Eiteljorg Museum (2003). Recent solo exhibitions include Oraison/Orison (OBORO, Montreal), Needleworks (McLaren Art Centre, Barrie, Ontario), Nadia Myre: Symbology (Carleton University Art Gallery, Ottawa) and Skin Tissue––as part of Hides: Skin as Material and Metaphor, (National Museum of American Indian, New York, NY). Her work The Scar Project was selected for both the 2011 Montréal Biennale and 2012 Sydney Biennial. Recent group exhibitions include Formes et Paroles (Gorée, Senegal), 2014 Shanghai Biennale: Social Factory (Power Station of Art, Shanghai, P.R.C), 2014 Sobey Art Award Exhibition, (Winnipeg Art Gallery, Winnipeg), Sakahàn (National Gallery of Canada, Ottawa), Water Diary (FRAC Haute-Normandie, Sotteville-lès-Rouen, FR), L’image Rôde (Le Fresnoy, FR), Changing Hands 3 (Museum of Art and Design, New York, NY), Pour une république des rêves (CRAC Alsace - Centre Rhénan d’Art Contemporain, Altkirch, FR), Time, Le temp du dessin (Ensemble Poirel, Nancy, France), Vantage Point: The Contemporary Native Art Collection (National Museum of American Indian National Mall, Washington, DC), It Is What It Is (National Gallery of Canada), Femmes Artistes. L’éclatement des frontières 1965-2000 (Musée national des beaux-arts du Québec, QC). Her work has received accolades from the New York Times, Le Monde, The Washington Post, Le Devoir, and has been featured in ARTnews, American Craft Magazine, ETC, Parachute, Canadian Art, C Magazine, Monopol, and ESSE. Myre’s work is held by corporate and public collections including: MacKenzie Art Gallery, City of Ottawa, Canada Council Art Bank, National Gallery of Canada, Musée de la civilization (Québec), Musée National des Beaux-Arts du Québec, Bibliothèque et archives nationales du Québec, National Museum of American Indian, and Fonds Regional d’Art Contemporain de Lorraine in France. Works may be found on permanent exhibition at the Montreal Museum of Fine Arts, the Canadian Museum of History and the National Gallery of Canada.