Lands Meeting

by BUSH Gallery
Tania Willard, Jeneen Frei Njootli, Peter Morin & Gabrielle Hill 

A program of:
Earthwork

Sunday, November 2, 2025
2pm–3pm EST / 11am–12pm PST
On Zoom

This slow-guided nature Zoom will be facilitated by BUSH Gallery. Pets and children are welcome, and caregiving while on Zoom is encouraged. 

Turn your camera, pointing it towards an element of the natural world (or lack thereof) around you. This could be an indoor plant, the view out your window, the sidewalk, the grass outside, a park, a street corner, or even just the place where you get free Wi-Fi. Through your camera, show your territory, the territory you live in, the territory that you acknowledge, via any element that, to you, constitutes the land—whatever that land is and wherever it may be.

The resultant images and sounds constitute an acknowledgment of our interconnectedness in nature in the virtual, in the social, and in the distance. This acknowledgement recognizes all the lands we carry inside us and which carry us within them in turn, as well as all the ancestors who likewise hold places in these territories.

Registration is required to receive the Zoom link for this event.

—

About the Artists

Tania Willard is a mixed Secwépemc and settler artist whose research intersects with land-based art practices. Her practice activates connection to land, culture, and family, centering art as an Indigenous resurgent act, though collaborative projects such as BUSH Gallery and support of language revitalization in Secwépemc communities. Her artistic and curatorial work includes Beat Nation: Art, Hip Hop and Aboriginal Culture at the Vancouver Art Gallery (2012-2014) and Exposure: Native Art and Political Ecology at the IAIA Museum of Contemporary Native Arts, Santa Fe (ongoing). Willard’s work is included in the collections of the Vancouver Art Gallery, Forge Project, Kamloops Art Gallery, and the Anchorage Museum, among others. In 2016, she received the Hnatyshyn Foundation’s Award for Curatorial Excellence in Contemporary Art. In 2020, the Shadbolt Foundation awarded her their VIVA Award for outstanding achievement and commitment in her art practice, and in 2022 she was named a Forge Project Fellow for her land-based, community-engaged artistic practice.

Jeneen Frei Njootli lives in the bush with her husband and babies outside of Old Crow, YT. A recovering academic, they are truly living the meme of closing your computer and running into the woods. This Vuntut Gwitchin artist with Czech, Dutch and jewish ancestry has been working in performance, sound, teaching, textiles, images, collaboration, workshops and feral scholarship. Over the years, Frei Njootli has gotten to work with many mentors and knowledge holders in addition to holding an MFA from the University of British Columbia and a BFA from Emily Carr University. Represented by Macaulay & Co. Fine Art in Vancouver, Frei Njootli’s work has been presented in many galleries, museums and artist-run centers around the world. Recent exhibitions include Noise of the Flesh: Score for Gina Pane at the FRAC (Fonds régional d’art contemporain) France, (2023), Indian Theatre, curated by Candice Hopkins at CCS BARD Hessel Museum, NY (2023), I don’t know you like that: The Bodywork of Hospitality at UB Art Galleries, Buffalo (2023), Early Days: Indigenous Art at the McMichael at the McMichael Canadian Art Collection (2021), Soft Water Hard Stone an exhibition at the New Museum Triennial, New York (2021), Listen Up: Northern Soundscapes, Anchorage Museum (2021), Where Do We Go From Here? At the Vancouver Art Gallery (2021), Kunstverein Braunschweig in partnership with the Contemporary Art Gallery in Germany (2021); and the Contemporary Art Gallery, Vancouver (2018). Selection of group exhibitions, biennales, and conferences include The National Gallery of Canada, Ottawa (2019-2018); Vancouver Art Gallery (2018-2016); Anchorage Museum, Alaska (2020); and the Toronto Bienniale of Art (2020) among others.

Peter Morin is a grandson of Tahltan Ancestor Artists. Throughout his exhibition and making history, Morin has chosen to focus upon his matrilineal inheritances in honour of his mom Edzūdzah and prioritizes Cross-Ancestral collaborations in honour of his parent’s ancestries (Tahltan and French-Canadian). Morin’s artistic offerings can be organized around four themes: articulating Land/Knowing, articulating Indigenous Grief/Loss, articulating Community Knowing, and understanding the Creative Agency/Power of the Indigenous body. The work takes place in galleries, in community, in collaboration, and on the land. All of the work is informed by dreams, Ancestors, Family members, and Performance Art as a Research Methodology. Peter Morin currently holds a tenured appointment in the Faculty of Arts at the Ontario College of Art and Design University in Toronto. 
 
Gabrielle L’Hirondelle Hill (b. 1979, Comox, British Columbia, Canada) is an artist and writer. Hill’s sculptural practice explores the history of found materials to enquire into concepts of land, property, and economy. Often, her projects emerge from an interest in capitalism as an imposed, impermanent, and precarious system, as well as in alternative economic modes. Her works have used found and readily-sourced materials to address concepts such as private property, exchange, and black-market economies. Hill is a member of BUSH gallery, an Indigenous artist collective seeking to decentre Eurocentric models of making and thinking about art, prioritizing instead land-based teachings and Indigenous epistemologies. Hill is Metis, Cree, and English, with maternal roots in the Michel Band and Papaschase. She lives on the unceded territories of the Sḵwxwú7mesh, xwməθkwəyə̓ m and səlilwətaɬ Nations.