KRYSTLE SILVERFOX
every memory is a piece of me
August 23 – October 24, 2026
In every memory is a piece of me, interdisciplinary artist Krystle Silverfox exhibits two bodies of photo-based work: Part of the Land and Connections. Both series explore the complex relationships between land, Indigenous culture, memory, and identity, reflecting on the ways colonialism has systematically disrupted connections to place and cultural knowledge. Through different approaches to photography, the artist transforms images of the Yukon landscape into visual explorations of loss and resilience. In Part of the Land, analogue collage and beadwork are used to piece together fragmented landscapes, while Connections digitally disrupts photographs by removing data from their underlying code. Together, the works consider what has been lost, what remains, and the ways acts of care and creativity can help reconnect the pieces.
Part of the Land is a series of photos which use analogue collage and beading to stitch back together images of landscapes. The title of the work Part of the Land is inspired by the book Part of the land, Part of the Water – A History of the Yukon Indians, by Catherine McClellen. The title is also an acknowledgement of parts – blood quantum percentages, land allotments and land stewardship, and missing parts of culture. This work pays homage to the connections we have to the land through acts of care – beading – to reconnect broken links.
Connections is a series of abstracted landscape photographs, exploring the concepts of colonization, lost culture and land through glitches and disruptions within the images. The photographs are created by deconstructing the digital code of the images – data which dictates colour and alignment of pixels. The deletion of data is meant to be a reference to lost knowledge due to colonial practices such as the 60s scoop/millennium, residential school, incarceration, diaspora, and disenfranchisement. The photographs depict landscapes of the Yukon Territory, and pays homage to the reality of lost connections in the North– such as no cellular signals in rural stretches, and Internet outages due to extreme weather. The title also refers to disrupted connections through colonial practices such as residential school, and the 60s scoop (which continues today). In Connections, the original file size is shrunken and data is removed from the coding of the photograph – a symbol of land theft and missing culture. Many Indigenous people miss the connection to their language and culture, however we are resilient and work with the knowledge we carry.
Krystle Silverfox is a member of Selkirk First Nation (Wolf Clan), and interdisciplinary visual artist. She currently lives and works on the territory of the Kwanlin Dün First Nation and Ta’an Kwach’an Council (Whitehorse, Yukon). 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. Krystle Silverfox is inspired by Indigenous feminism, trans-nationalism, decolonialism, activism, futurism, and lived experience.
Exhibition Reception: Sunday, August 23, 2026 from 2 p.m. – 5 p.m.
Drop-in Workshop: Saturday, September 26, 2026 from 11 a.m. – 2 p.m.
