Written by Amy Gogarty

• Born: Kamloops, BC, 1959
• Production Dates: Approximately 1989 – present
• Location: Vancouver, BC
• Types of Work: Slip-cast and hand-built plates, sculpture, installation, using underglaze, glaze, lustre, mixed-media.
• Preferred Kiln Type and Firing Process: Electric Kiln
• Preferred Clay: cone 04, low-fire paper clay, although other clays also used at times.
• Website: judychartrand.com

• Signature/Mark/Chop:

Judy Chartrand: Biography

Born in Kamloops, BC, Manitoba Cree artist Judy Chartrand was raised in Vancouver’s Downtown Eastside (DTES). While she is a status member of the Pine Creek Band in Camperville, Manitoba, where she has family, she has never lived on the reserve. One of thirteen children, she grew up in a multi-racial, urban environment, where she experienced both the positive aspects of diversity as well as the negative impacts of racial prejudice, poverty, and the inter-generational trauma of the residential school system, which her mother endured for twelve years as a child.

Although art was not important in her home, she was a curious and precocious child. She spent many hours in the Vancouver Museum, which was housed in the Carnegie Building at the corner of Hastings and Main between 1957 and 1967, when it moved to its present location in Vanier Park. ¹ After sitting vacant for a number of years, the building was renovated and reopened as the Carnegie Community Centre in 1980. The newly refurbished structure, often referred to as the “Downtown Eastside’s Livingroom,” housed a reading room, art gallery, dark room, pottery room, and other educational and recreational amenities. ²

Leaving home at age 15, Judy supported herself as a chambermaid, something she expected to be doing her entire life. ³ In 1989, a store selling greenware opened on Venables at Commercial in East Vancouver. She began purchasing and painting items. Soon a friend asked her to paint some Native designs on pots. The ceramic shop owners invited her to exhibit the pots in their shop window and encouraged her to enter them in a competition at Trout Lake, where she won first and second place. Purchasing, painting, and firing commercial greenware was very expensive. When she came across a video of the well-known San Ildefonso Potter Maria Martinez, she watched it repeatedly, teaching herself to make coil pots, which she fired at the Carnegie Centre. ⁴

Her desire to make larger, more complex pieces led to some conflict in the Centre, so, after participating successfully in a craft fair, she purchased supplies and tools to work on her own. Buoyed by her success and at the suggestion of two First Nations counsellors, she applied to and was accepted into the Fine Arts program at Langara College in Vancouver. Here she worked with Don Hutchinson and later transferred to Emily Carr Institute (ECI), now Emily Carr University of Art + Design.

At ECI, she studied with the noted ceramicist Steven Heinemann, who taught there for several semesters. While he was a demanding instructor, Judy credits him with encouraging her to aim higher and to ask more of herself. He introduced her to the pinching method of building 3D forms, which she continues to use to this day.

Despite flourishing in her studio work, Judy was distressed by the near-absence of support for–or understanding of–Indigenous experience. Contemplating dropping out, in 1996, she went on exchange for one semester to the Institute of American Indian Arts in Santa Fe, New Mexico. Here she encountered well-known Indigenous instructors such as the Cochiti Pueblo sculptor Diego Romero, and Indigenous students from across the continent. Local museums showcased beautiful artworks and artifacts from Indigenous cultures. For Judy, the experience was life-changing.

Returning to Canada with new-found confidence, she set about organizing two Indigenous Awareness Days at ECI, raising funds to bring in important Indigenous artists including James Luna (Luiseño, Puyukitchum, Ipai, and Mexican), Laura Wee Láy Láq (Sto:lo), George Littlechild (Plains Cree), Mary Longman (Salteaux Cree), Teresa Marshall (Mi’kmaq), and Joane Cardinal-Schubert (Blood). This experience cemented her life-long commitment to raising awareness of Indigenous issues and racism in all its forms.

After graduating from Emily Carr Institute in 1998, she moved to Regina for graduate school, earning her MFA from the University of Regina in 2003. Her time in Regina was difficult. She felt the city was fifty years behind Vancouver in terms of awareness of race, as every day she encountered racist taunts and ignorance. However tense this made her daily life, it fed her artwork. Finding the University curriculum overly based on European theory, she began to search out writers of colour such as Dick Gregory, Franz Fanon, and bell hooks. Much of what they had to say about Black experience translated to her experience as a Native woman, and writings by people of colour helped her put her own thoughts in order.

While at the U of R, Judy took courses in traditional First Nations art processes such as quillwork and beading at the Saskatchewan Indian Federated College (SIFC), located at that time off-campus in an older building. Here she studied with the painter Bob Boyer (Métis/Cree), who continues to influence her. He emphasized craftsmanship and the importance of the back to a beaded work being as perfect as the front. In 2003, the year she graduated, SIFC was renamed the First Nations University of Canada (FNUniv), and it moved into an impressive new building designed by famed Native architect Douglas Cardinal. ⁵

Judy became particularly interested in Cree-Plains Native work, which is quite different from the North-West Coast art more frequently found in Vancouver. She travelled to the Yukon and studied with Twyla Wheeler, a fellow Cree. The amount of work involved in the production of quilled and beaded items complicates their commercial viability, although several museums and collectors have expressed interest. For a number of years, she participated in Red Cloud Indian Art Shows in Pine Ridge, South Dakota, ⁶ and in annual Christmas craft fairs at the Aboriginal Friendship Centre in Vancouver. She continues to practice traditional craft skills as time permits.

The year 2004 was significant in that Judy’s work was featured in Hot Clay, a juried exhibition at the Surrey Art Gallery, and in First Nations Now, at the Burnaby Art Gallery. In the following years, her work was frequently included in group exhibitions in Vancouver and across the United States. In 2013, she presented a solo exhibition Judy Chartrand: 1999 – 2013 at AKA Artist-Run Centre in Saskatoon, Saskatchewan, and in 2016, Judy Chartrand: What a Wonderful World at the Bill Reid Gallery in Vancouver. ⁷ In 2018, she shared the North-West Ceramics Foundation (NWCF) Award of Excellence with Jackie Frioud, ⁸ and, in 2019, she exhibited a major installation and assorted bowls in Playing with Fire: Ceramics of the Extraordinary, at the Museum of Anthropology, University of British Columbia, in Vancouver. ⁹ She has also presented her work in several solo exhibitions at Macaulay & Co. Fine Art in Vancouver.Throughout her career, Judy has received the support of art collector and real estate marketer Bob Rennie, who has consistently collected, promoted, and lent her work to exhibitions. Describing her as one of their “in-depth collected artists,” the rennie museum writes:

“Chartrand’s work is boldly assertive and humorous, often attacking issues of racism and post-colonial relations. Rather than focusing on the victimization of marginalized individuals, Chartrand flips the script and creates work that spotlights the privileged life lived in ignorance, shielded from day-to-day racism and poverty. With forthright titles such as What A Wonderful World, Go Back to Your Own Country and If this is what you call “Being Civilized”, I’d rather go back to being a “Savage”, Chartrand’s work forces the viewer to confront their own perpetuations of discrimination.” ¹⁰

While the Covid 19 pandemic put a crimp in everyone’s schedule, Judy has been very busy in the last few years with new work. Her work was featured in a National Council on Education for the Ceramic Arts panel for NCECA 2022 in Sacramento, and later discussed in the NCECA Journal. ¹¹ The panel Meeting the Moment: Fertile Disruptions included the talk “Long Shadows: Paul Scott and Judy Chartrand Disrupt the Now” by Amy Gogarty, who presented her work in tandem with UK print and ceramic artist Paul Scott.

That same year, she was included in the exhibition Our America/Whose America? at the Ferrin Contemporary Gallery in North Adams, MA; ¹² and in Imprinted: Illustrating Race at the Norman Rockwell Museum in Stockbridge, MA. ¹³ In 2023, she was one of ten artists included in Handle Carefully: The Power of Words and Clay, guest-curated by Kirk Delman for the prestigious Scripps College 78^th Ceramic Annual Exhibition, held in the Ruth Chandler Williamson Gallery in Claremont, CA. ¹² Her bowl In Memory of Those No Longer With Us was purchased by the American Museum of Ceramic Art (AMOCA) in Pomona, CA, for their permanent collection. It is clear that her work is garnering new audiences in Canada and abroad, with more surely to come.

Judy Chartrand: Works

Cans of Soup

Becoming interested in advertising on nineteenth- and twentieth-century product tins, Judy began to pay close attention to stereotypical depictions of Native people often used as logos to promote the brand. The images either romanticized the “noble savage,” or they were overtly racist and demeaning. As Judy has written:

“These images were widely accepted because they appeared harmless, and they soothed white consciences. They reference a nostalgic past while promoting white supremacy through their depiction of First Nations peoples.” ¹⁴

The soup cans combine a playful twist on Pop Art’s depiction of commercial products and the name Campbell, a common Métis name. The red and white cans refer to Aboriginal and Settler culture as well as suggesting the mixing of Indigenous (red) and European (white) blood to form the Métis people. ¹⁵ At the time, Judy was studying the Cree language and had to ask her mother, a fluent speaker, about names for familiar foods. The word Naboob means “soup” in Oji-Cree, and the varieties of soup recall Indigenous delicacies or “country food” rather than standard European fare. Conjuring up pleasurable memories of home-cooked food, the soup cans acknowledge Native investment in “urban, consumer and modern experience,” ¹⁶ while critiquing the imposition of European brands, customs, and culture onto Indigenous people.

The Cupboard of Contention consists of a vintage kitchen cupboard filled with what appear to be Campbell’s soup cans. The names of these “soups,” however, refer to manifestations of Canada’s racism towards Indigenous people including relocation, sexism, loss of language, and murder. Stacks of ceramic bills and gold coins represent the riches that have resulted from appropriating—stealing–resources properly belonging to First Nations. On the cupboard door, a play on the national anthem reads, “Oh Canada, your home is Native land,” succinctly identifying the underlying violence of white supremacy and official government policy. ¹⁷

Counteract

In 2006, Chartrand was invited by Access Gallery and the Powell Street Festival to participate in Lost and Found, an exhibition exploring shared memories of the DTES. In the work she created for the festival, Chartrand replicated a café lunch counter remembered from her youth. The White Lunch chain of restaurants was launched in 1913. Originally, it hired only white waiters and served white patrons. At a time when Vancouver’s opposition to Chinese and Japanese inhabitants was at a boiling point, one was located 100 West Hastings Street near Chinatown. ¹⁸

Chartrand’s installation includes a white counter, white stools and white coffee cups in which float white letters spelling “white only.” The wall behind the counter is layered with items from her collection of vintage games, toys and photographs incorporating racist stereotypes common in popular imagery of the day. The work was purchased by the Rennie Collection and later included in the UBC Museum of Anthropology’s exhibition Playing with Fire: Ceramics of the Extraordinary.

Civilized/Savage

In a series of ceramic bowls created over several years collectively titled If This is What You Call “Being Civilized” I’d rather go back to Being a “Savage,” Chartrand brings together her personal history, the history of Vancouver, and the history of post-contact relations between Aboriginal and European cultures. The backs of the low-fire, hand-built bowls are stamped with images depicting physical threats such as cockroaches and alcohol bottles, and positive things such as Southwest Native designs, buffalos and flowers. Text include phrases such as “murdered,” “urban death,” and “we mourn.” The texts and images create rich patterns in the white clay and add layers of meaning.

The fronts to the bowls refer to hotels once located along a seven-block strip of East Hastings in downtown Vancouver, an area once known as “skid row.” The hotels are identified by their flamboyant, art-deco signs rendered with bold graphics. A swarm of cheeky cockroaches surrounds each sign. Associated with poverty and filth, cockroaches are believed to have entered North America with early slave ships, so their use allows Chartrand to mark solidarity with another marginalized group. However, as cockroaches simultaneously invoke the invading settler culture and the trickster figure popular in Aboriginal stories, the bowls elicit a variety of interpretations. Using a punchy, cartoon-like style, the bowls speak to a legacy of injustice and violence with a voice mixing humour and anger in equal measure.

What a Wonderful World

The exhibition What a Wonderful World at the Bill Reid Gallery in downtown Vancouver in 2016 served as a sort of retrospective, providing the public with a chance to see the range of Judy’s work. The exhibition included a series of slip-cast lard cans painted with invented labels based on racist stereotypes. As Judy writes,

“The lard pail holds many memories (both positive and negative) for those who used them as lunch boxes during their childhood. The use of lard addresses the desirability of being “Pure White.” The labels challenge and deconstruct many romanticized images and stereotypical assumptions by revealing deeper truths, which convey realities experienced by First Nations peoples.” ¹⁹

One Drop of Indian Blood (2000) refers to the fact that anyone with any percentage of Native blood was considered “Indian” and denied basic human rights. Indian Expert pokes fun at white anthropologists and “experts” who “explain” Indigenous culture to Indigenous people they assume have forgotten their language and heritage, while Enlightenment Brand (2001) documents Judy’s developing consciousness of the damage caused by colonialism by featuring self-portraits surrounded by the phrase “I am a colonized ‘other.’”

Reviewing the exhibition, Robin Laurence noted:

“As it tells aspects of her own history and that of her mother, Chartrand’s art-making is an assertion of her creative and psychological strength. Her ceramic macaroni boxes, for instance, allude to the kinds of cheap foods poor people must frequently eat. Indian Residential School Brand Porridge makes reference to the lumpy stuff that indigenous kids, torn from their families and cultures, were fed every day. By extension, this work demands that we consider the abuses and more brutally dehumanizing aspects of the residential-school system. Humour animates both the macaroni and porridge works, although the underlying message is darkly serious.” ²⁰

Residential School Works

The Truth and Reconciliation Commission Report of 2015 ²¹ shed light on the appalling legacy of residential schools in Canada, many operated by the Catholic Church. Between 1831 and 1996, it is estimated that at least 150,000 First Nation, Inuit, and Métis children were taken from their families and forced to attend residential schools often far from home. The phrases covering the base of It was a White Problem (2017) are taken from accounts given by survivors, including Chartrand’s mother, who attended The Pine Creek Residential School in Manitoba between 1926 and 1938. Survivors’ tales relate abuse, punishment for speaking their native language, and emotional trauma. Most tragically, hundreds of unmarked children’s graves have been discovered on land once occupied by Residential Schools.

Chartrand’s large sculptural work Indian Residential School Boy’s Praying We Get the Hell Out of Here (2019) is a based on historical photographs of children forced to kneel and pray at night on their beds, where, later, they would wait in terror for the sound of approaching abusers. Children who wet their beds were forced to “wear” the sheets as a mark of humiliation. One figure has a shaved head. Chartrand explains that children who ran away had their heads shaved on return. Other children were encouraged to insult and call the child “onion head.” The baldness makes the figure appear middle-aged, suggesting that childhood trauma remains with individuals throughout their lives, causing crippling damage.

The Politics of Racism

In 2020, Chartrand responded to the murder of George Floyd, calls for racial and economic justice, and the growing awareness of racial inequality with a series of hand-painted plates skewering racism in all its forms. She targets white supremacy and the absence of diverse representation in comic books, placing these images on tableware to locate the issues squarely in the domestic sphere. Home is where children first learn to hate, where racist attitudes thrive, and where inequalities in law and culture dictate inequalities of income, access to resources, and justice.

Works painted on vintage china recall settler culture. Images of white people phoning 911 to report completely legal activities conducted by people of colour, and white fragility exemplified by endless, meaningless, apologies, target the dominant culture’s ignorance and aggression. The bone china recalls the decimation of the buffalo that resulted from government plans to force Aboriginal peoples away from traditional lifestyles, to “Kill the Indian and save the Man.” The extermination left enormous piles of buffalo bones to rot on the prairies. These bones were shipped in large quantities to Britain, where they supplied some of the “bone” in bone china. ²²

Mimbres-inspired works

Chartrand’s encounter with Mimbres culture in New Mexico early in her career left a profound impact, which continues to inspire her. She has made several versions of a powerful bowl, In Memory of Those No Longer With Us, dedicated to missing and murdered Indigenous women. As is the case with otherbowls, the backs are elaborately stamped with texts and images. On the front, a concentric pattern of female forms fills the centre, radiating out towards the rim in a Medicine Wheel pattern. Around the rim are written the names of Indigenous women who have been disappeared, including Chartrand’s own sisters.

Other Mimbres-inspired works are more humorous or pointedly political, as with her critique of the former US President.

In 2018, she drew on Mimbres imagery for an architectural commission in the Downtown Eastside Olivia Skye Building, which contains shelter-rate housing for older female residents. Here, fourteen large, glass panels bear images of beautiful and enigmatic figures who gaze out from windows and bring spiritual healing to the area. As Chartrand writes in her statement accompanying her proposal for the building:

“I decided to use similar figures from the ancient Mimbres culture that I used on a Memorial Bowl and a large three-person banner that has been a part of the Women’s Memorial March for more than 20 years. I incorporated a medicine wheel because it represents the four directions, the four elements of life, the four medicines, the four seasons, the four states of wellbeing and the four colours of humans as well as the four stages of life. In addition to this, I created a word cloud to reinforce the presence of the people who lived in the margins of the then downtown Vancouver. The medicine wheel is about as indigenous as any symbol comes and it signifies health and healing. . . . . The 14 large panels on the front of the building hold cropped and enlarged sections from the women figures around the medicine wheel. It’s contemporary and artistic as well as recognizable as figures that have been displayed at the annual women’s march. The cropping gives them an otherworldly movement across the surface of the building. I liken the female images as ancient Spirit Guides placed to watch over everyone.” ²³

A series that continues to evolve, Mimbres Ballet consists of large hand-built vessels with vibrant floral tops. On the vessel, silhouettes of Mimbres-inspired dancers, hummingbirds, dogs, flowers, butterflies, and other positive imagery create an impression of joyful grace. Because so many of the works she makes refer to tragedy and violence, Chartrand found it important also to make works that celebrate “Native Joy,” the pride, inspiration, and sheer pleasure she experiences with her Indigenous heritage and identity. The tops to these works explode with colourful flowers and birds, which add to the overall feeling of joy.

Our America/Whose America?

In 2022, Chartrand was invited by Leslie Ferrin of the Ferrin Contemporary Gallery in North Adams, MA, to participate in two exhibitions, Our America/Whose America? and Imprinted: Illustrating Race at the Norman Rockwell Museum in Stockbridge, MA. She was asked to respond to historical examples of china decorated with derogatory and racist imagery once openly displayed on American tables. Judy particularly reacted to colonial images of British and American “heroes” responsible for genocide against the Native peoples whose lands they violently appropriated. At once humorous and devastating, the plates point to the long history of oppression experienced by Native people at the hands of colonial invaders.

Rainbow Crow

Judy Chartrand continues to create extraordinary works that draw on her heritage, personal experience, and history. Always innovating and seeking new ways to assert the presence and beauty of Indigenous culture while acknowledging the inexplicable brutality and tragedy that so often defined relationships between Indigenous and Settler peoples, she remains hopeful and positive. A clear indication of this is currently being installed as a public art project by Townline Homes in Surrey, BC. Holland 1 Rainbow Crow (2023) and Holland 2 Rainbow Crow Bring Fire to the People, which will be installed in 2024, are based on a traditional Lenape narrative and include 18-foot tall poles with images of flowers, leaves, and trees. Combining ancestral stories with high-tech materials, Rainbow Crow and Rainbow Crow Brings Fire to the People incorporate 3M Dichroic film in polycarbonate sheets,²⁴ which change colours and cast dappled rainbows of light onto visitors as they walk along the sidewalk. This public art project will bring beauty and spiritual healing to the area, a harbinger of more work to come.

Resources:

• Bill Reid Gallery, Judy Chartrand: What a Wonderful World, October 19, 2016 – March 26, 2017. Online: Judy Chartrand: What a Wonderful World – Bill Reid Gallery
• Chambers, Ruth, Amy Gogarty, Julia Krueger, Mireille Perron, “Panel: Meeting the Moment: Fertile Disruptions,” NCECA Journal, vol 42 (2022): 90-93.
• Chartrand, Judy. Personal website, judychartrand.com
• Ferrin Contemporary Gallery, “Judy Chartrand,” JUDY CHARTRAND – Ferrin Contemporary
• Gogarty, Amy, “Judy Chartrand: If this is What You Call “Being Civilized,” I’d rather go back to Being a “Savage,” Surrey Art Gallery, Open Book, 2007. Online: Judy Chartrand: Civilized Exhibit Brochure (surrey.ca)
• Gogarty, Amy, “Judy Chartrand: What a Wonderful Life,” review of exhibition Bill Reid Gallery, PGBC Newsletter, Dec/Jan 2016/2017. Online: december_2016_newsletter.pdf (weebly.com)
• Gogarty, Amy, “Playing With Fire: Extraordinary ceramics engage with contemporary issues,” Galleries West, January 13, 2020. Online https://www.gallerieswest.ca/magazine/stories/playing-with-fire/
• Laurence, Robin, “Judy Chartrand: What a Wonderful World uses everything from ceramic soup cans to cereal boxes to take on racism and colonialism,” Georgia Straight, Nov 7, 2016. Online: Judy Chartrand: What a Wonderful World uses everything from ceramic soup cans to cereal boxes to take on racism and colonialism | Georgia Straight Vancouver’s News & Entertainment Weekly.
• Macaulay & Co. Fine Art, “Judy Chartrand: Métis Soup,” press release, February 17 – March 26, 2016, Online: https://mfineart.ca/wp-content/uploads/2016/02/chrtrand-pr.pdf.
• Mayer, Carol E., curator, Playing with Fire: Ceramics of the Extraordinary, catalogue accompanying the exhibition, Museum of Anthropology at UBC, Vancouver BC November 22, 2019 – March 29, 2020. Online: Playing With Fire: Ceramics of the Extraordinary (fliphtml5.com)
• Scout Magazine, “White Lunch,” Vancouver Lexicon, April 23, 2018. Online: White Lunch – Scout Magazine.
• Rennie Museum, “Artist Spotlight: Judy Chartrand,”November 6, 2019. Online: Artist Spotlight: Judy Chartrand | rennie museum
• Ruth Chandler Williamson Gallery, Handle Carefully: The Power of Words and Clay , 2023Scripp’s College 78^th Ceramic Annual, January 21 – April 9, 2023, Curator: Kirk Delman, Online 2023 78th Scripps College Ceramic Annual by jenn-creativityco – Issuu.

Notes

1. Museum of Vancouver, “History of the Museum,” https://museumofvancouver.ca/history

2. Rebecca Bollwitt, “Vancouver History: The Carnegie Building,” January 20, 2010, online https://miss604.com/2010/01/vancouver-history-the-carnegie-building.html

3. Carol E. Mayer, Playing with Fire: Ceramics of the Extraordinary, catalogue accompanying the exhibition, Museum of Anthropology at UBC, Vancouver BC November 22, 2019 – March 29, 2020. p. 9 online Playing With Fire: Ceramics of the Extraordinary (fliphtml5.com)

4. Uncited personal details of Judy’s life come from interviews conducted in July 21, 2008 and November 7, 2022, as well as from intervening conversations.

5. Keith Howell, “First Nations University of Canada,” The Canadian Encyclopedia, February 18, 2012. Updated Michelle Filice, May 31, 2016. Online: First Nations University of Canada | The Canadian Encyclopedia. See also See also Steven Crum, “A History of the First Nations College Movement of Canada, 1969-2000,” Journal of American Indian Higher Education vol 26, no 3 (Spring 2015). Online: A History of the First Nations College Movement of Canada, 1969-2000 (tribalcollegejournal.org)

6. Red Cloud Indian School Heritage Center, “Celebrating 50 Years of Native Art: The Red Cloud Indian Art Show,” https://www.redcloudschool.org/ArtShow

7. Robin Laurence, November 7, 2016, “Judy Chartrand: What a Wonderful World uses everything from ceramic soup cans to cereal boxes to take on racism and colonialism,” Georgia Straight, Judy Chartrand: What a Wonderful World uses everything from ceramic soup cans to cereal boxes to take on racism and colonialism | Georgia Straight Vancouver’s News & Entertainment Weekly accessed Jan. 21, 2023. See also: Amy Gogarty, “Judy Chartrand: What a Wonderful Life,” review of exhibition Bill Reid Gallery, PGBC Newsletter, Dec/Jan 2016/2017. Online: december_2016_newsletter.pdf (weebly.com)

8. See www.nwcf.ca/the-north-west-ceramics-foundation-award-of-excellence/

9. Amy Gogarty, “Playing With Fire: Extraordinary ceramics engage with contemporary issues,” Galleries West, January 13, 2020. www.gallerieswest.ca/magazine/stories/playing-with-fire/ See also Carol E. Mayer, note 3.

10. Rennie Museum, “Artist Spotlight: Judy Chartrand,” November 6, 2019. https://renniemuseum.org/featured-artist-judy-chartrand/

11. Ruth Chambers, Amy Gogarty, Julia Krueger, Mireille Perron, “Panel: Meeting the Moment: Fertile Disruptions,” NCECA Journal vol 42 (2022): 90-93.

12. Ferrin Contemporary: Judy Chartrand https://ferrincontemporary.com/portfolio/judy-chartrand/.

13. Ferrin Contemporary, Imprinted: Illustrating Race/Norman Rockwell Museum, https://ferrincontemporary.com/portfolio/imprinted-illustrating-race/.

14. The catalogue is available online https://issuu.com/jenn-creativityco/docs/78-fullcatalog-sm.

15. Judy Chartrand, “Judy Chartrand,” Utopic Impulses: Contemporary Ceramics Practice, eds Ruth Chambers, Amy Gogarty and Mireille Perron (Vancouver: Ronsdale Press, 2007), p. 225.

16. Judy Chartrand: Métis Soup, artist statement, February 17 – March 26, 2016, Macaulay & Co. Fine Art, chrtrand-pr.pdf (mfineart.ca).

17. Chartrand, Utopic, p. 226.

18. Vancouver Lexicon: “White Lunch,” Scout Magazine, April 23, 2018. White Lunch – Scout Magazine.

19. Chartrand, Utopic, p. 225.

20. Laurence, see note 7.

21. National Centre for Truth and Reconciliation, University of Manitoba, https://nctr.ca/.

22. Danielle Taschereau Mamers, “Historical photo of mountain of bison skulls documents animals on the brink of extinction,” The Conversation, Dec 2, 2020, Historical photo of mountain of bison skulls documents animals on the brink of extinction (theconversation.com).

23. Atira Development Society, Olivia Skye https://atiradevelopment.ca/project/olivia-skye/.

24. 3M Canada, “3M Dichroic Glass Finishes,” https://www.3mcanada.ca/3M/en_CA/p/d/v000096551/.

Amy Gogarty, A Brief Bio

Amy Gogarty is an artist and a writer who lives and works in K’emk’emeláy̓ (land of many maples, i.e. Vancouver, British Columbia). The land on which she lives and works is on the unceded shared traditional territories of the Coast Salish Peoples, including the territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) Nations. She taught visual art history and theory at the Alberta College of Art and Design (now AUArts) in Calgary for sixteen years prior to relocating in 2006 to Vancouver. She has published or presented over 120 critical essays and reviews relating to contemporary visual art and craft. She produces functional and sculptural ceramics, sits on the Board of the North-West Ceramics Foundation, and is a passionate supporter of ceramics in BC.