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Moon Jelly Gallery

Moon Jelly Gallery

pâkicihew (she has swollen hands)

An exhibit by bailey macabre

Curated by Amber R. Morrison

Artist Statement: baily macabre

This exhibition features a 6-part series of cyanotype textile pieces centred around healing, grief, family, and intergenerational connection. These pieces are a meditation in trying to heal intergenerational trauma, move on from the loss of my grandmother. and process her existence as an entire person independent from her traumatic experiences.

What began as an exercise in sun exposure quickly became a foray into the role my grandmother had in our family and how her life existed independent of the trauma she faced. I used a lot of sacred medicines in the creation of these pieces and used them to smudge throughout my process. Other important cultural pieces like beads, dentalium, chaga, and abalone make appearances in these works, as well.

Sewing and textile work plays an important role in the purpose of these pieces as well – nôhkompan taught me how to sew, quilt, and knit. Not only do they speak to her in content and structure, but also throughout the entire creation of these works.

While creating these artworks, it truly felt like my grandmother was with me, guiding my hand as we made the pieces together. I never intended to create a piece about her residential school, but as I felt guided toward that subject, I recognized there is a way to move through the pain and create works that evoke healing and release ‐ something I think nôhkompan benefits from.

These are immensely personal pieces imbued with love, patience, and understanding for a complex matriarch whose absence has been felt in our family in many various and shifting ways.

Curatorial Statement: Amber R. Morrison

bailey macabre’s collection of artworks pâkicihew (she has swollen hands) is a personal investigation of family, and yet it transcends a singular narrative, offering space to contemplate one’s own familial bonds and the larger contexts that shape them. Each of these pieces is visually striking, thoughtfully composed, and crafted with care.

This exhibition is a series of cyanotype textile artworks, each a meditation on healing, grief, family, and the enduring ties that bind generations together. The cyanotype process, which captures the ghostly forms of objects through the play of light and shadow, mirrors the way our memories are formed, imprinted with the indelible impressions of our ancestors. A zine, also made by the artist, acts as a guide to this collection as well as a keepsake. It contains helpful resources to services that support mental health and Indigenous wellness.

In the wake of Truth and Reconciliation Day, pâkichew (she has swollen hands) gives the public time and space to reflect on the larger national context that affected the fabric of families across this continent.

Through bailey’s art, we are invited to connect with the legacy of colonialism and residential schools, to remember our own family narratives, and to find solace, joy, and celebration in the transformative power of creativity.

Letter to nôhkompan: bailey macabre

My dear, sweet grandma. Little Violet.

There has been an absence since your departure into the spirit world that will never be filled. For all your intricacies, complexities, and sharpness, you held our family together in ways I never recognized until you’ve been gone.

You were the thread that kept so many of us together, and without you here, I’ve witnessed family members ruin themselves, clawing for things they should know do not matter. There have been moments of anger. Waves of grief. Many, many times where I wish we could have talked about your life.

I hold on to the good things, and I am grateful that towards the end you were open with me in a way you’d never before been, with anyone. I know you show up for re when I need you and that, despite never saying it out loud, you were proud of me

As time passes, and healing continues, all I am left with are the tiny moments that make me miss you deeply. The way you woke up early at Christmas. The smell of your freshly baked buns. Exchanging little glances and laughing with each other. like we were the only ones in the room. How you took care of Kitty, even when you claimed to hate cats.

I hope that, above all else, you know the depth of my love for you and my desire to reclaim all that was stolen from you. I know you are so much more than your trauma, and I wish I knew who you were beyond it. I forgive you, and I love you.

A letter to survivors and their kin: bailey macabre

A Letter to Survivors and their Kin

I want to start off by saying this- my heart is with you.

No matter how much time passes, and how much effort we put into healing, it never gets any easier. I know that seeing images of residential school sites bring up a lot of complex emotions, and no matter how subtly or gently the subject is broached, it’s never less traumatic

Despite these pieces being immensely personal, I want to acknowledge that these things don’t happen in a vacuum. I have yet to meet an Indigenous person whose family hasn’t been affected by the residential school system. No matter how deeply and differently these experiences affect our family members, they also connect us to each other.

I wish so deeply that things were different. I long for a day when we are free to create, laugh, connect, and speak without constantly having these horrible experiences overshadow what we do.

I long for a future where we are seen as the beautiful, complex people we are – we are so much more than what we’ve endured. We are so much more than “strong” or “resilient”. We should be allowed to be messy, make mistakes, and exist without having our lives questioned, debated, or scrutinized.

I want us to be free from the confines of a colonial system that was enforced upon us against our will. I want a future where we are able to reach our full potential, where our families are whole, where we are not left to wonder what point we serve in all of this.

There is so much love in my heart for each and every one of our kin whether we are members of the same Nation or not, we are family, and we are not alone.

Resources

Hope For Wellness (for Indigenous kin):
1-855-242-3310 hopeforwellness.ca

Indian Residential School Survivors Society:
1-800-721-0066

Crisis & Anxiety Text Line:
Anxiety: Text CONNECT to 741741
Crisis: Text HOME to 741741

To talk with a mental health professional:
1-866-585-0445 or text WELLNESS to 741741 (Youth: Text 686868)

Click on each image to read the artist statement.

Eliot White-Hill, Kwulasultun, Moths Dancing Around the Moon

wâpan (dawn, early morning)

cyanotype treated jacquard cotton, 8/0 czech seed beads, aluminum chain, felt. 8.75×11.25″

Eliot White-Hill, Kwulasultun, Two Indians Challenge Powers of White Man / To Continue to Exist as Formerly

êsisis (small shell; small seashell)

cyanotype treated jacquard cotton, ridged dentalium shells, black lip shell, sweetgrass braid, grey felt. 8.75×11.25″

Eliot White-Hill, Kwulasultun, Moths Dancing Around the Moon

wâsêtâhkwakâw (it is starlight)

cyanotype treated jacquard cotton, deer antler button, braided sweetgrass, matchstick, pressed violets with gold flake in resin, grey felt. 8.75×11.25″

Eliot White-Hill, Kwulasultun, Two Indians Challenge Powers of White Man / To Continue to Exist as Formerly

wîsakâpasiw (the smoke is hurting her eyes)

cyanotype treated jacquard cotton, aluminum chain, handmade tobacco bundle, black lip shell. 8.75×11.25″

Eliot White-Hill, Kwulasultun, Moths Dancing Around the Moon

kaskeyihtamowin (being filled with longing; yearn; bereavement; homesick)

cyanotype treated jacquard cotton, prairie sage from treaty 6, aluminum chain. 8.75×11.25”

Eliot White-Hill, Kwulasultun, Two Indians Challenge Powers of White Man / To Continue to Exist as Formerly

pihkohow (they free themselves by breaking away or breaking loose)

cyanotype treated jacquard cotton, 8/0 czech seed beads, teardrop beads, dentalium, white sage, sweetgrass. 8.75×11.25″