“My father was a survivor of the Lebret (Qu’Appelle) Indian Industrial Residential School. Unfortunately, he did not survive the accumulated effects of intergenerational trauma. We lost our dear father in 1978, he was 39 years old, I was seventeen.” - Kevin McKenzie

Edge of Seventeen collects and preserves the memories and knowledge McKenzie’s father instilled in Kevin as a child, translating his father’s teachings and passion for hockey into a contemporary Indigenous experience. The exhibition serves as a portal, linking repressed childhood memories of McKenzie’s father to his current state of Indigenous regeneration and resistance to colonial assimilation. Edge of Seventeen reflects a personal transformation, through a process of reconstructing Indigenous identity and masculinity.

Coyote continuously whispers in Anderson's ear, "yes, you can joke about something while simultaneously being completely serious.” - Judy Anderson

Through multimedia installations that stimulate the senses Judy Anderson interrogates what it means to “Indigenize” a place. After more than two decades of creating sly and meaningful interventions to mark her presence in the world, Anderson’s work unquestionably pronounces nêhiyaw as integral to this place, known as Treaty Four territory.

Judy Anderson is nêhiyaw from Gordon First Nation, SK. Anderson’s practice includes beadwork, installation, painting, three-dimensional pieces, and collaborative projects. Her work focuses on issues of spirituality, nêhiyaw intellectualizations of the world, relationality, graffiti, colonialism and decolonization. She is an Associate Professor of Canadian Indigenous Studio Art in the Department of Art and Art History at the University of Calgary.