As a way to process grief and loss, Teresa Vander Meer-Chassé has created a literal and metaphorical shelter that has been reclaimed, reconstructed, and revitalized. Having found herself in deep internal conflict following the loss of a family member to substance use, she invites audiences to wind their way through Worms Shower Among Us and enter Nee’ Shah | Our House to witness the importance of awakening sleeping materials as a method of navigating loss. Through the processing of natural materials with her family and the creation of two installation works, she empowers audiences to witness universal cycles of loss, grief, and mourning.
Artist Statement
Dineh k’èh Ddhälh kit Nelnah shǫǫsį’, nòodlèey k’èh Teresa Vander Meer-Chassé shǫǫsį’. Ts’òogot Gaay ts’änh diht’eh. Tthèe Tsa’ Niik ts’änh diht’eh. Amiskwaciy Wâskahikan dänh shih hǫǫłįį. Kwanlin dänh nìidhihshąąn. METULIYE Camosak tah huht’įįn. Shnąą Ttthìi’ Elgąy (Janet Vander Meer) mǫǫsį’. Shnąą wunąą stsǫǫ Stsaay Ch’idzǜü’ (Marilyn John) mǫǫsì’, wunąą Nii’ii Jaiy, wunąą Laats’iih’ol, wunąą Gàan Dànihtl’įǫ. Shnąą wuta’ sts’aay Sid van der Meer moosi’. Shta’ Wilfred Chassé mǫǫsį’. Shta’ wunaa stsǫǫ Helen Chassé mǫǫsį’. Shta’ wuta’ sts’aay Louis Chassé mǫǫsį’.
Teresa Vander Meer-Chassé is a proud Niisüü member of White River First Nation from Beaver Creek, Yukon and Alaska. She currently resides on Songhees, Esquimalt and W̱SÁNEĆ Territories in Victoria, British Columbia, although she travels home to the Yukon as often as she can. She is an Upper Tanana, Frisian, and French visual artist and curator. Her visual arts practice is invested in the awakening of sleeping materials and the reanimation of found objects that are rooted in understandings of identity. She has recently been exploring themes of grief, loss, mourning, family, and community in her installation works.
“I have been blessed with an abundance of teachers throughout my life, who share with me teachings, memories, stories, and language.”
Shii’itsüh | Crying in the Heart is a collection of three installations that I began while pursuing my Master of Fine Arts at Concordia University under the guidance and influence of my Grandma Marilyn John. All works explore themes of grief, loss, and remembrance. A special tsin’’įį choh (big thank you) to everyone that has stood by my side as I grieve the recent passings of my Grandma Marilyn John, Brother Stewart Chassé, Uncle Patrick Johnny, Uncle Peter van der Meer, and Cousin Duncan Stephen.
I have been blessed with an abundance of teachers throughout my life, who share with me teachings, memories, stories, and language. This journey would not have been possible without contributors and supporters. Tsin’įį choh to my family, my friends, my moosehide and fish tanning teachers, my Upper Tanana language teachers, White River First Nation, and my communities and supports in the Yukon, Victoria, and Montréal. Thank you to the Yukon Arts Centre, Mary, Michel, Michael, and Mike for making this show possible.
CONTENT WARNING:
This exhibition includes themes of loss, grief, mourning, and substance use
Hǫǫsǫǫ dìik’analta’ de’ (take care of yourself)
