Rebecca Belmore (Anishinaabe) creates sculpture, installation, video, photography and performance. Central to her work is the body in relation to history, place and Indigeneity. Recent monographic exhibitions include Turbulent Water, Griffith University, Brisbane; and Facing the Monumental, Art Gallery of Ontario, Toronto. Recent major international exhibitions include the 2022 Whitney Biennial, 2019 Istanbul Biennial, and documenta 14. Belmore has been awarded the Governor General’s Award in Visual and Media Arts and the Gershon Iskowitz Prize, among many others. She holds honorary doctorates from Université Laval, Quebec City; Nova Scotia College of Art and Design; Emily Carr University of Art + Design, Vancouver; and Ontario College of Art & Design University, Toronto.

Dayna Danger (they/them) is a Two-Spirit, Indigiqueer, Métis-Saulteaux-Polish, visual artist, hide tanner, drummer, and beadworker. Danger’s art practice is an act of reclaiming space and power over society’s projections of sexualities and representation. This transpires in Danger’s art through their intentionally large-scale images that places importance on women-identified, Two-Spirit, Transgender, and non-binary people. Their art uses symbolic references to kink communities to critically interrogate visibility and rejection. Danger centers Kin and practicing consent to build artworks that create a suspension of reality wherein complex dynamics of sexuality, gender, and power are exchanged.

Graduated of l’Université Laval, France Gros-Louis Morin is a visual artist who won an inter-university photography competition and exhibited at the Old Port of Québec for the 400th anniversary of the city. She has participated in several group exhibitions, including 400 ans de résistance and Les piliers du monde. After a 15-year break dedicated to her family, she returns with the Yahndawa’ project, exploring natural photographic development techniques. Her work, once militant, now addresses the sacred link between body and land, expressing a new sensitivity and fragility.

Shelley Niro is a member of the Turtle Clan, Bay of Quinte Mohawk Six Nations Grand River Reserve. She is a practicing artist, concentrating on painting, photography and film. In 2017 Niro was awarded the Canada Council for the Arts Governor General Award in Visual Art, the Reveal Award from the Hnatyshyn Foundation, Dreamcatcher’s Visual Award and the Scotiabank Photography Award. She became an honorary elder in the Indigenous Curatorial Collective. Niro is conscious the impact post-colonial mediums have had on Indigenous people. Like many artists from different Native communities, she works relentlessly presenting people in realistic and explorative portrayals.

Sylvie Paré (Wendat/Québécoise) is a visual artist from Loretteville, Québec. She was a cultural agent at the Jardin des Premières-Nations du Jardin botanique de Montréal for 20 years, where living culture and visual arts were integral parts of cultural programming. As guest curator, museographer, and artist, she produced the exhibition Oubliées ou disparues: Akonessen, Zytia, Tina, Marie et les autres at the Maison de la culture Frontenac in 2015. She is currently pursuing her artistic research into the notion of legacies and intimacy in a museum context. She is based in Montreal.

Katherine Takpannie is an urban Inuk who lives in Ottawa, on the unceded and unsurrendered land of the Anishinaabe Algonquin peoples. She is a self-taught photographer whose visual language expands out from portraiture to include lush landscapes, and political activism. In 2020, she was the recipient of the National Gallery of Canada’sNew Generation Photography Award. Since then, her artworks have been displayed both nationally and internationally and are published in several magazines. She participated in exhibitions at the Biennale d’art contemporain autochtone (BACA), City of Ottawa Art Collection, Art Gallery of Guelph, PAMA Peel Art Gallery + Museum, Minneapolis Institute of Art, and Olga Korper Gallery.

Tania Willard is a mixed Secwépemc and settler artist whose research intersects with land-based art practices. Her practice activates connection to land, culture, and family, centering art as an Indigenous resurgent act, through collaborative projects such as BUSH Gallery and support of language revitalization in Secwépemc communities. Willard’s work is included in the collections of the Vancouver Art Gallery, Forge Project NY, Kamloops Art Gallery, Belkin Gallery and the Anchorage Museum, among others. She received the Hnatyshyn Foundation’s Award for Curatorial Excellence in Contemporary Art (2016) and was named a Forge Project Fellow for her land-based, community-engaged artistic practice (2022). 

Greg A. Hill is a Kanyen’keháka member of the Six Nations of the Grand River. Currently based in Chelsea, QC, he is a multidisciplinary artist and curator and has presented his work in exhibitions and performances across North America and abroad. His curatorial work spans nearly three decades, including his post at the National Gallery of Canada as the Senior Curator of Indigenous Art where he significantly increased the visibility of Indigenous Art in their exhibitions and collections.

Julia Caron Guillemette is an independent curator, author and art historian based in Quebec City. She has been assistant artistic director for Manif d’art, curator-educator at the Musée d’art contemporain de Baie-Saint-Paul and cultural mediator at the Musée national des beaux-arts du Québec. She holds a master’s degree in art history from Université Laval and has published in several specialized magazines. She curated L’écho des contes (Jardin d’hiver 4, 2025), Cooke-Sasseville: contre toute attente (2025) and co-curated Ostentation (2022).