This work consists of two wool-felted bear masks exploring dual aspects of human nature. The white mask represents a calm, supportive energy, soft and approachable. The dark brown mask with exposed teeth, embodies a more aggressive and primal force. Named Arktos and Beorn, the figures draw from mythological and linguistic roots of the bear across cultures, suggesting both gentleness and strength.

Inspired by Carl Jung’s concept of the “shadow,” the work reflects on the hidden or repressed parts of the self-shaped by social expectations. Rather than negative, these qualities are presented as essential to psychological balance. The tension between vulnerability and strength invites reflection on authenticity and personal boundaries.

Materiality is central to the experience. Soft merino wool contrasts with firm beadwork detailing the features, while raw fleece adds an untamed quality. Viewers are invited to touch and wear the masks, engaging physically with their own internal dualities.

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Fiery pops of red, orange and yellow bounce between the block printed black and white circular cut outs. Alternating between smooth and embossed, creating delightful textural variety. Sewn vertically, the dangling strands of paper rounds twist and twirl, creating a kind of curtain, obscuring what peaks behind.

When pushed to the side, a carved block of linoleum is discovered. Tracing a finger around the edge leads to a predicament of where to start. Like a maze, you must enter, guided by the curves, hoping to find your way to the center. Nestled in the heart lies two Snake Head Lily blossoms. One, newly emerged, ready to burst and the other unfurled at peak bloom. With intricate checkerboard petals and grass like leaves, they bend and arch along the black stained block showing off their beauty in high contrast. The Spring flowers remind us of the cycle and resilience of life. From the darkness to the light, our ability to adapt and overcome the harshest of conditions.

The fleeting florals encourage us to slow down and embrace the moment. Encouraging our senses to take hold of the moment and the power of touch to ground you.

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We all acknowledge the precious resource that water is while consuming it daily for mundane rituals: bathing, cleaning, refreshing, surviving. We see it in our homes, and outside from puddles to oceans. We know what it looks like, we know how it feels on our skin, but what if we could really touch it, not ice, not snow, but the flow of water frozen in a moment in time?

That is the question that I explore with my work in pewter. Using unconventional casting techniques, and mixing mediums, I shape the captured forms of flowing water into a tactile experience.

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In a world with many distractions, my work is profoundly influenced by minimalism and a life lived by the sea. With a focus on quiet contrasts and a warm, earthy palette, my work draws attention to the simple, yet beautiful characteristics found in nature that are often overlooked. By incorporating these elements into my work, I hope to bring that sense of calmness into the spaces they inhabit.

My process often begins with quiet observation; a feeling, a texture, or a detail noticed in passing. I work primarily in ceramics and mixed media, allowing the materials to guide me. For the Touch exhibition, I hope these works remind people oftime spent in nature, and the unfiltered joy of noticing and collecting small treasures along the way. The pieces explore the sensation of becoming fully immersed in a moment, and how touch is intimately connected to memory and lived experience.

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Spoonbait references a fishing lure also known as a spinner. My response to a group exhibition challenge using Spoons as a theme has spawned into a new body of work using scrap copper from a water cistern which was “tinned” on one side. An idea that began as fish bait, something to attract attention, to both lure and have allure. Enlarged in scale, formed, textured, then embellished with beads: no longer functional for fishing. Add this exhibition challenge to create work intended to be touched, to attract attention. This work is intended to engage a variety of senses, physical touch, visual sparkle and the surprise of sound.

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La présence d’un géant est née de l’intensité silencieuse d’une rencontre avec un éléphant mâle africain dans le parc national de Tarangire, en Tanzanie. Dès notre premier jour, nous avons croisé un mâle qui semblait aussi curieux de nous que nous l’étions de lui. Il s’est avancé vers nous avec une lente assurance, réduisant la distance jusqu’à ce que sa trompe se retrouve à quelques centimètres de mon visage, humant doucement l’air autour de nous. Ses grondements profonds et résonnants vibraient dans ma poitrine. Je n’ai ressenti ni peur ni nervosité. J’ai plutôt éprouvé de l’émerveillement et une connexion inattendue. Chaque pas portait un poids immense, comme si la terre répondait sous lui.

À travers des textiles superposés et une forme sculpturale, je traduis ce moment en quelque chose de tangible. La texture devient un langage du toucher, invitant les visiteurs à expérimenter non seulement l’image, mais la présence elle-même. Cette œuvre ne parle pas seulement de l’apparence de l’éléphant, mais de ce que signifie être en sa présence : ancré, puissant et profondément calme.

My work is rooted in handwork; every element is shaped through direct contact with materials. Inspired by coral reefs and ocean ecosystems, this piece invites interactivity through touch as well as sight. Created using embroidery, needle felting, wet felting, and beadwork, it is a three-dimensional landscape of changing textures and heights. Soft fibres, silky fabric, and smooth beads create a surface that can be explored slowly by hand, echoing the layered complexity of underwater environments. Bright, contrasting colours are used to help those with partial sight, while the tactile variation offers an equally rich experience for those who interact by touch. This work emphasizes sensation, curiosity, and accessibility, inviting viewers to interact with it beyond traditional “look but don’t touch” gallery norms.

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Ma pratique est intuitive et guidée par les matériaux, ancrée dans des tissus réutilisés et des objets trouvés. Je suis attirée par les matériaux marqués par le temps — textiles usés, rouille et fragments abandonnés — que je transforme par la couture, la superposition et l’expérimentation. La création est un processus d’apprentissage, guidé par le toucher et la découverte.

Pour la Biennale Touch, cette œuvre explore le monde caché sous les sols du Nouveau-Brunswick, en s’intéressant aux vers de terre et à la taupe à nez étoilé — des créatures vivant sans la vue, mais jouant un rôle essentiel dans les écosystèmes forestiers. À travers des surfaces tactiles et des textures superposées, la pièce invite à une exploration au-delà de la vision, réfléchissant aux systèmes invisibles qui soutiennent la vie et établissant un parallèle avec la communauté des personnes aveugles ou malvoyantes.

Words can carry both power and meaning. As someone who works with words a lot, I took on the challenge to weave words into cloth that could be interpretated through of touch. Each weaving is based on three descriptive words that can be sensed through more that sight alone. Can you guess which three words go with each weaving?

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