Krystle Silverfox 2021 Finalist
Artist BioI am a Northern Tutchone (Selkirk First Nation) visual artist residing in New Westminster, BC. I hold a BFA in visual arts (2016) and BA in gender, race, sexuality and social justice (2013) both from UBC; and an MFA in Interdisciplinary Studies (2019) from SFU. My artistic practice explores different materials, methodologies, and symbols to create conceptual works. I am passionate about Indigenous feminism, trans-nationalism, de-colonialism, and social justice – and I view my artistic practice as personal activism and expression. My practice includes painting, photography, sculpture, installation, and new media. I am interested in using my artistic practice to explore ways to better communicate and share my experiences and stories.
Krystle Silverfox is a member of Selkirk First Nation (Wolf Clan), and interdisciplinary visual artist. Silverfox currently lives and works on the unceded territory of the Qayqayt First Nation (New Westminster, BC). Silverfox holds both a BFA in Visual Art (2015); a BA in Gender, Race, Sexuality and Social Justice from UBC (2013); also an MFA in Interdisciplinary studies from Simon Fraser University (2019). Her artistic practice explores different materials, methodologies, and symbols to create conceptual works. Silverfox is inspired by Indigenous feminism, trans-nationalism, de-colonialism, activism, and lived experience.
"Ets'edegél' (spear game)"
2020. Cedar, acrylic paint, copper leaf.
This artwork was made for the 2020 Winter Games art exhibition Emerging North. For the show, I was asked by the curatorial team to create a new work using a new process/material and inspired by the winter games activities. I created Ets’edegél’ (spear game) to explore the excitement of being present during such an event, specifically the game snow snake where participants throw spears.
"Hats’adän echo (Elders teachings)"
2020. Digital collage 18” x 12”
Hats’adän echo (Elder’s teachings) is a series of 4 digital collages inspired by family photos. Within the collage there is a mix of beadwork, film photography, and digital photography. The series suggests that land/identity/culture/belonging are interconnected. Hats’adän echo (Elders teachings) explores learning, gratitude and decolonial love.
2020 Digital C-Type Print 51″ x 34″
Royal Tease surveys the intersection between resource extraction, colonialism, land/territory, and Canadian Nationalism through still life photography. Royal Tease questions contemporary Canadian-Indigenous issues through the blending of cultural objects and belongings, creating an image of messy treaties, royalties, trade, and Nation-to-Nation/corporate agreements. These objects also signify concepts of land, belonging, culture, and location(s) important to my identity as a Northwest Coast First Nations Artist living and working on unceded Coast Salish Territories.
"All that Glitters is Not Gold..."
2019 Installation (HBC Blanket, copper pennies, wool, cedar) 16′ x 16′ x 4′
All That Glitters is Not Gold… is an installation which looks at the intersection of identity, land, and rescource extraction. The HBC blanket is a reference to Fort Selkirk, which was an HBC trading post and historically significant site for Selkirk First Nation (where I am a citizen). The cut blanket references traditional ceremonies of cutting/ripping HBC blankets as an act of care. The copper pennies are a reference to the copper mines located on First Nations traditional territories within the Yukon (specifically, the Goldcorp mine – now Newport/Goldcorp). The project was my final project studying at Simon Fraser University, where the Arts building is named after Goldcorp – and the title of the artwork is meant to acknowledge complex relationships between First Nations and mining corporations. The cedar frame is meant to mimic hide tanning and the fringe is meant to ground the works to the land.
"tth'í' yáw nan (thread beads land) (series of 3)"
2018, digital collage, 28″ x 22″
tth’í’ yáw nan (thread beads land) examines relationships between documenting landscapes and knowledge through the use of various materials. I am inspired by First Nations beading practices that create and record images, and knowledge of landscapes, along with the tradition of landscape photography. tth’í’ yáw nan (thread beads land) looks at the intersections of identity and belonging – concepts which are integral to my own experiences as a First Nations artist living and working on unceded Coast Salish territory.
2021, Acrylic on Canvas, 20″ x 20″
Untitled is a painting series I am working on which combines traditional formline elements with images of medicinal plants found along the Yukon river. The project uses colours to create a neon camoflage appearance creating a playful palette. I am interested in learning more about medicinal plants within BC and the Yukon.