Nadia Myre
Nadia Myre (born 1974) is a contemporary visual artist from Montreal and an Algonquin member of the Kitigan Zibi Anishinaabeg First Nation, who lives and works in Montreal. For over a decade, her multi-disciplinary practice has been inspired by participant involvement as well as recurring themes of identity, language, longing and loss. Of the artist, Canadian Art Magazine writes, “Nadia Myre's work weaves together complex histories of Aboriginal identity, nationhood, memory and handicraft, using beadwork techniques to craft exquisite and laborious works.” Through her body of work, Myre is interested in having conversations about collective identity, resilience and the politics of belonging.
She graduated from Camosun College (1995) and Emily Carr University of Art and Design in Vancouver (1997) and holds a master's degree in visual arts from Concordia University (2002). Myre has an extensive exhibition history, with over 115 shows—25 of which have been solos—just in the last 10 years. Her work can be found in the National Gallery of Canada, Montreal Museum of Fine Arts, National Museum of Fine Arts of Quebec, the Canadian Museum of History and the Canadian Embassies of New York, London, Paris and Greece. Most recent exhibitions include Volume 0 (Zuecca Project, Venice), Balancing Acts (Textile Museum, Toronto, 2019), Show Me Your Wound (Dom Wein, Vienna, 2018/19), Code Switching and Other Work (The Briggait, Glasgow International, 2018), Tout ce qui reste/Scattered Remains (Montreal Museum of Fine Arts, 2017/18). Myre is the recipient of many commissions and awards, notably the 2014 Sobey Art Award for Canadian artists under 40, and in 2019 was inducted into the Order of Arts and Letters of Quebec.
Nadia Myre, Spread Eagle East Hastings, 1997, Inkjet print on archival paper, 31 x 21”, Ed of 5
Nadia Myre, Sleeping Beauty Looking, 2007, Watercolour on paper, 29 x 40.5”
Nadia Myre, I Saw You on The Bus, 2007, Watercolour on paper, 29 x 23”
Nadia Myre, Veterans’ Paradise, 2023, Acrylic on linen, 56”H x 60”W
Nadia Myre, Bone Weft, 2024, Ceramic, found pipe shards from Thames River, 7’H x 9”W
Nadia Myre, Composite Accord, 2024, Pigmented clay, glass, gifted bone, 20”L x 12”H
Nadia Myre, [in]tangible tangles, 2021, Digital print on metallic paper, 8.85 x 8.25 in, Ed of 7
Nadia Myre, [in]tangible tangles, 2021, Digital print on metallic paper, 8.85 x 8.25 in, Ed of 7
Nadia Myre, [in]tangible tangles, 2021, Digital print on metallic paper, 9.5 x 8.25 in, Ed of 7
Nadia Myre, [in]tangible tangles, 2021, Digital print on metallic paper, 8.25 x 8.25 in, Ed of 7
NADIA MYRE, UNTITLED (STUDY FOR COUNTRY WHERE BEAVERS, DEERS, ELKS AND SUCH BEASTS KEEP), 2019, Ceramic, stainlesswire 20 × 83 9/10 in
Nadia Myre, installation view of exhibition, "Code-Switching and Other Work" at the Glasgow International Festival of Visual Art, 2018
Nadia Myre, OCEANUS PROCELLERUM (VOLUME 0), 2019. COMMISSIONED FOR ZUECCA PROJECTS, VENICE BIENNALE
Nadia Myre, Volume 1, 2019. Earthenware, beads, threads. Background: Nadia Myre, Damask (Volume 0), 2019. Wallpaper installation
Nadia Myre, Skin Tissue (as part of Skin as Material and Metaphor), 2010. National Museum of American Indian, NYC, NY
Nadia Myre, Installation view of ORAISON / ORISON 2014. OBORO GALLERY, MONTREAL, QC
Nadia Myre, Meditations on Red, #2 – 2013, Digital print, 121.9 cm diameter, Collection of Indigenous and Northern Affairs Canada
Nadia Myre, Indian Act (2000-2002), Glass beads, copy of one of the 54 pages of the Canadian Federal Government’s Indian Act, masking tape, thread, felt