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 built a celebrated career spanning over two decades. Her work has been exhibited extensively in North America and internationally in the UK, France, Italy, Greece, Austria, Mexico, Gabon, and China. Her art resides in prestigious collections, including the National Gallery of Canada, the Smithsonian Institution, the Montreal Museum of Fine Arts, the Canadian Museum of History, and the Kadist Foundation, as well as in Canadian embassies in New York, London, Paris, and Greece. Most recent solo exhibitions include “Waves of Want” at the National Gallery of Canada (2025), “Ropes & Lines” at the Centre international d’art du paysage - Île-de-Vassivière, France (2024), “Want Ads” at Macaulay + Co., Vancouver BC (2024), “After the Fire” at DIANA, New York (2024). Myre is the recipient of many commissions and awards, notably the Emily Award in 2024, the Prix Louis-Comtois (2021), the 2014 Sobey Art Award, and in 2019 was inducted into the Order of Arts and Letters of Quebec.
Tall Orange,
2025, ceramic beads, stainless steel wire, 45⅝ x 16⅞"
Small Crag Blue 04,
2025, ceramic beads, stainless steel wire, 33⅛ x 28"
Small Net 02,
2025, ceramic beads, stainless steel wire, 34⅝ x 42⅞ x 2⅜" (variable)
Small Net 01,
2025, ceramic beads, stainless steel wire, 34⅝ x 42⅞ x 2⅜" (variable)
Small Crag 03,
2025, ceramic beads, stainless steel wire, 33 x 28"
She Eats Sweet Grass and has Visions,
2024, extruded ceramic characters, wall installation, 21.5 × 82.5"
Saying Goodbye [Aurevoir],
2024, ceramic beads, metal wire, 36 x 41"
Spread Eagle East Hastings,
1997, Inkjet print on archival paper, 31 x 21”, Ed of 5
Sleeping Beauty Looking,
2007, Watercolour on paper, 29 x 40.5”
I Saw You on The Bus,
2007, Watercolour on paper, 29 x 23”
Veterans’ Paradise,
2023, Acrylic on linen, 56 x 60”
Bone Weft,
2024, Ceramic, found pipe shards from Thames River, 7’H x 9”W
Composite Accord,
2024, Pigmented clay, glass, gifted bone, 20"L x 12”H
[in]tangible tangles,
2021, Digital print on metallic paper, 8.85 x 8.25", Ed of 7
[in]tangible tangles,
2021, Digital print on metallic paper, 8.85 x 8.25", Ed of 7
[in]tangible tangles,
2021, Digital print on metallic paper, 9.5 x 8.25", Ed of 7
[in]tangible tangles,
2021, Digital print on metallic paper, 8.25 x 8.25" , Ed of 7
Untitled (Study for Country Where Beavers, Deer, Elks and Such Beasts Keep),
2019, Ceramic, stainlesswire, 20 x 84"
Installation view of exhibition, "Code-Switching and Other Work" at the Glasgow International Festival of Visual Art, 2018
Oceanus Procellerum (Volume 0),
2019, Commissioned for Zuecca Projects, Venice Biennale
Volume 1,
2019,
Earthenware, beads, threads
Background: Nadia Myre, Damask (Volume 0), 2019, Wallpaper installation
Installation view of ORAISON / ORISON 2014, Oboro Gallery, Montreal, QC
Skin Tissue (as part of Skin as Material and Metaphor),
2010, National Museum of American Indian, NYC, NY
Meditations on Red, #2 ,
2013,
46" diameter,
Face mounted glicée print
Collection of Indigenous and Northern Affairs Canada
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