Martin Ibarra Morales Art

Tupuna, ceramic series, ancestor's cloak, contemporary sculpture, Maori

"Girl in the Clouds”, by ceramic dynamo Katharine Morling is a porcelain free standing sculpture, depicting an woman riding a horse. She wears a crown made of textile as they maneuve...

This white, blue, and red miniature paper sculpture titled "OVER IT" is an original artwork by Drew Leshko made of paper, acrylic, inkjet prints, basswood, wire, PVC plastic, pastel,...

Whaea- The Matriarch, ceramic figurative sculpture, female, clay, Maori woman

Elizabeth Jordan is an artist working primarily in sculpture and whose work uses multiple materials to produce unique, organic forms. In addition to a solo and group shows at Ivy Bro...

medium: installation, table, mirror, 20 glass and metal beaded clay sculptures Esperanza Cortés is a Colombian born multidisciplinary artist based in New York City. Cortés has been ...

Tupuna, Ancestor's Cloak, ceramic sculpture, abstract, Maori, contemporary art

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

Waita - Song, Contemporary Maori Sculpture, Aotearoa, facial moko, tattoo, male

The Responsibility of Stories: Karine Giboulo’s Broken Circle Text by Sasha Gora Shoulders shrugged, a man stands among row after row of empty single beds. Like the beds, with frames that tilt and mattresses that hang a bit too far to the right, his posture is wobbly, a little unsure. It is hard to tell if he is looking ahead, or if his gaze is cast down. Part of Karine Giboulo’s Broken Circle, the empty beds are haunting as they reference the history of residential schools. The man’s stare suggests the weight of memory, the burden of stories. Giboulo employs sculpture as a mode of storytelling. The Montreal-based artist creates elaborate miniature worlds that are reminiscent of dioramas and ethnographic museum displays. Behind their precious scale and warm colours are harsh observations and critiques of the world’s economic and social ills. For her exhibition at Art Mûr, Giboulo delicately engages with Canada’s broken relationship with First Nations communities. Past projects have brought Giboulo to China (All you can eat, 2008), Haiti (Democracy Village, 2012), and India (City of Dreams, 2013). Back in Canada, Giboulo realized even though she grew up close to the Manawan community, Lanaudière, she had never set foot on a reserve. The Truth and Reconciliation Commission of Canada released a summary in 2015 that describes the residential school system as cultural genocide. “Cultural” seems to soften the punch; however, cultural genocide is a component to genocide, not a different type. The commission’s head Justice Murray Sinclair states “ . . . this is not an aboriginal problem, it's a Canadian problem." Broken Circle imparts a similar view. This is an installation about Canada...