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Apr 27 - Sep 12, '21

Using photographs lenticular imagery and paintings, contemporary artist Rosalie Favell pieces together the multiple, intersecting histories of Winnipeg and the Indigenous peoples of the Red River settlement.

Presented in conjunction with The Alloways’ Gift, this exhibition reflects on this history through the lens of Favell’s family lineage in the Red River settlement, which dates back to before 1700s.

Artist Bio

Rosalie Favell. Photo by Larry Glawson.

Rosalie Favell

Ottawa based Rosalie Favell was born in Winnipeg, Manitoba. Drawing inspiration from her family history and Métis (Cree/English) heritage, she uses a variety of sources, from family albums to popular culture, to present a complex self-portrait of her experiences as a contemporary aboriginal woman. To date Rosalie’s work has explored the relation of photography to issues of identity. A major body of recent work, Facing the Camera (2008-2018), is a large document of 500 portraits of Aboriginal artists.

Over the course of her long career, Favell’s work has appeared in exhibitions in Canada, the US and Internationally. Numerous institutions have acquired her artwork including: National Gallery of Canada (Ottawa), Indigenous Art Centre, Crown-Indigenous Relations and Northern Affairs Canada (Gatineau, Québec), North American Native Museum (Zurich, Switzerland), Smithsonian National Museum of the American Indian (Washington, D.C.), and Global Affairs Canada and the Winnipeg Art Gallery (Winnipeg, MB) She has received numerous grants, and won prestigious awards such as the Ontario Arts Foundation – Paul DeHuek/Norman Walford Career Achievement Award, the Chalmers Fellowship, the Victor Martyn Lynch-Staunten Award and the Karsh Award.

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WAG-Qaumajuq recognizes that land acknowledgements are part of an ongoing dialogue with Indigenous Nations, and we are grateful to live and work on these lands and waters. Institutionally, WAG-Qaumajuq is committed to acknowledging our colonial history and we are actively working to interrogate the Gallery’s colonial ways of being.

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