Reflecting on themes of intergenerational knowledge and healing,Wiigwasitig / waskway / Honouring the Birch Tree includes the works of five First Nation artists focusing on birch bark (Wiigwas/waskway). Featuring: Pat Bruderer, Helen Pelletier, Amber Sandy, Seth Arcand, and Angelique Merasty

Curated by Albany Sutherland

Opening Reception: September 12, 2026, 1pm – 3pm  

Click here for free registration 

Reflecting on themes of intergenerational knowledge and healing, Wiigwasitig / waskway / Honouring the Birch Tree includes the works of five First Nation artists focusing on birch bark (Wiigwas/waskway). Coming from Anishinaabeg and nêhiyawak communities over several generations, the exhibition features bark biting, baskets, film, photography, and wearable art, through an intersection of traditional and contemporary forms. The works of Pat Bruderer (Halfmoon Woman), Helen Pelletier, Amber Sandy, Seth Arcand and the late Angelique Merasty are curated by Albany Sutherland, opening conversations on the significance of knowledge systems in sustaining relationships with the Land and kin.

As Indigenous knowledge systems continue to be actively revitalized, Wiigwasitig / waskway creates space for cultural continuity by positioning the Gallery as a site for learning, exchange, and the ongoing presence of Indigenous ways of knowing within contemporary art contexts. Each artist featured has strong community ties, as well as a deep connection to the materials they work with, highlighting their responsibility to Land through artistic practice. 

Pat Bruderer, an established birch bark biting artist with over thirty years of experience, is inspired by the work of the late Angelique Merasty, who was believed to be one of the few birch bark biters of her generation. Her intricate designs are created by folding thin layers of bark harvested from birch trees and biting to make imprints. Bruderer has taken the responsibility of sharing this practice by teaching youth across the region.  

Helen Pelletier is from Fort William First Nation and specializes in working with Wiigwas. For this exhibition, she presents Wiigwas baskets, a rifle case, and wearable art made from birch. Her practice is grounded in ceremony, harvesting bark, and spruce roots used for her work. Pelletier uses etchings to transform natural materials into intricate works that honour the beauty and resilience of Wiigwas.  

By sharing her creations with others, Pelletier contributes to the ongoing transmission of Anishinaabe knowledge, demonstrating how artistic practice can serve as a form of medicine and connectivity. The work is further informed by the sacred mountain Anemki Wajiw (Thunder Mountain) on Fort William First Nation, where she harvests annually.  

Amber Sandy’s Enchantment reflects intergenerational knowledge sharing, with two rows of quills from two different porcupines – one harvested by artist Jean Marshall and the other by her and her niece last year. Enchantment highlights the deep material significance of continuing traditional practices such as quill work and hide-tanning. 

Sandy’s working methods are central to her practice. She has been taught how to tan hide, harvest quills and Wiigwas by mentors, one of them being Helen Pelletier. ‘The Mary’ Birchkin Bag is made from birch bark, home-tanned hide, and dyed porcupine quills, raising questions about the value of community, knowledge, and traditional skills. Mashkiki, meaning medicine in Anishinaabemowin, is created from home-tanned bear hide which speaks to clan roles, and our inherent responsibilities of caretaking in relation to ourselves, our body, spirit, and Land.  

Seth Arcand’s work is a series of photographs, 16mm film, and digital video work that explores how Indigenous peoples interact with waskway. Slow media, which is the intentional production and consumption of media, is used to capture the natural environment’s movements and sounds. His work reflects nêhiyaw (Cree) laws such as wahkohtowin (understanding), defined by Arcand as “the law that states we are in relationship with people, land, animals, and water”. While working closely with his community, visiting and reciprocity are central to his practice to document the experiences of Indigenous people across generations. 

The work of Angelique Merasty is significant to this exhibition as it demonstrates the early continuance and preservation of birch bark biting as a vital cultural practice. Her work reflects a deep commitment to sustaining cultural knowledge through periods where these practices were at risk of being lost completely. Angelique continues to inspire future generations of artists to carry the skills and cultural knowledge of birch bark biting forward.  

Wiigwasitig / waskway / Honouring the Birch Tree exhibits cultural continuance of knowledge sharing, memory, and relationships across generations. While systems of cultural transmission have been disrupted, these artists are actively engaged in revitalization by sharing their practices with future generations, offering reflections on the resurgence of Indigenous knowledge systems through their practices of making.