VALERIE SALEZ
1. Beyond the Ravages of..., 2022, Photograph, plexiglass, 68"w x 44"h. 2. Prototype 1- thin blue line, 2021, Fir bark, oil marker. Dimensions: variable. 3. The Structure of Wood, 2021, Mixed media,
STATEMENT
The 1993 Clayoquot Sound protest was the first environmental uprising I ever witnessed. I was 16. Throughout the 90's, I worked on renovation projects in Victoria. I became hyper aware of all the lumber used and the 'end pieces' that we discarded every day. Meanwhile, anti-logging campaigns were still alive as extractive forestry practices raged on. Crippled by heavy grief, I would collect all the end pieces and on weekends I would drive to clear cuts and hammer the wasted lumber back onto old growth stumps. This silent, unseen gesture was an absurd attempt to connect the dots of lumber consumption and waste.
In 2016 myself and Mohawk artist Lindsay Delaronde collaborated on a project titled Touching Earth Bodies. We spent a few days with a group of BIPOC women who posed nude in old growth clear cuts around Pacheedaht Territory. As a group, we spoke of how MMIWG and the general disrespect and abuse towards femal/non-binary/trans bodies has a connection to extractive industries and the decimation of vital ecosystems/Mother Earth. Today it seems no different. The injustices continue. The protests continue. The only difference is that intact, original, old growth forests have been diminished to under 3%. And so I am called to continue, in my small ways, to connect with this crisis, the remaining old growth, the cut blocks and the land protectors.
The 1993 Clayoquot Sound protest was the first environmental uprising I ever witnessed. I was 16. Throughout the 90's, I worked on renovation projects in Victoria. I became hyper aware of all the lumber used and the 'end pieces' that we discarded every day. Meanwhile, anti-logging campaigns were still alive as extractive forestry practices raged on. Crippled by heavy grief, I would collect all the end pieces and on weekends I would drive to clear cuts and hammer the wasted lumber back onto old growth stumps. This silent, unseen gesture was an absurd attempt to connect the dots of lumber consumption and waste.
In 2016 myself and Mohawk artist Lindsay Delaronde collaborated on a project titled Touching Earth Bodies. We spent a few days with a group of BIPOC women who posed nude in old growth clear cuts around Pacheedaht Territory. As a group, we spoke of how MMIWG and the general disrespect and abuse towards femal/non-binary/trans bodies has a connection to extractive industries and the decimation of vital ecosystems/Mother Earth. Today it seems no different. The injustices continue. The protests continue. The only difference is that intact, original, old growth forests have been diminished to under 3%. And so I am called to continue, in my small ways, to connect with this crisis, the remaining old growth, the cut blocks and the land protectors.
BIOGRAPHY
Valerie Salez's multidisciplinary social art practice involves collaborations with communities around the world, addressing environmental issues related to social, cultural and climate injustices. Graduating with a BFA in interdisciplinary studies from Nova Scotia College of Art and Design Salez has gone on to participate in innovative residencies and create socially engaged projects that have led to exhibits across Canada, Poland, Germany, USA and Mexico. Her work is included in private collections, university, provincial and territorial collections including the Canada Council Art Bank. Salez has received numerous grants and awards from the Canada Council for the Arts, Yukon Territory and Nova Scotia provincial Arts Funding.
From 2018 to 2020 Valerie conceived of, produced and coordinated TO TALK WITH OTHERS, which centred on Yukon First Nations’ road to self-determination in the face of Pierre Elliot Trudeau's Mackenzie Pipeline project. www.totalkwithothers.ca included over 20 Yukon First Nations Artists and traditional makers and has toured Western Canada. Salez grew up in the Yukon on various FN traditional territories and currently lives in Lekwungan Territory (Victoria, BC). |