320:, Robertson describes Kaija's works as striving to be sculptural. Robertson writes that Kaija was interested in the idea of excavating her own fabrics. She cut into the layers of finished tapestries to reveal the underlying structures, or experimented with the shrinkage of different wool varieties. Kaija further experimented with unconventional materials, weaving pockets with photo filters that allowed light to pass through, creating slippery glimmers under the delicate surface. These photo filter strategies can be seen in Kaija's "Woven Quilt Series." This altering of the weaving after the loom also extended to felting and embroidery. Robertson wrote that Kaija's work
150:: this exhibition was an experience Kaija referred to often as a remarkable influence on her art practice. She marveled at the freedom and the 'lack of inhibition' demonstrated by these new contemporary weavers, which included artists from North America, Poland, and Germany. That same year, The Harris' journeyed to Umea, Sweden for a time so that Richard could teach at Umea University. Kaija purchased her first loom, and began to teach weaving. In Umea, Kaija was further influenced by three exhibitions of textile art: a contemporary Polish weaving exhibition; an African weaving exhibition; and an exhibition of the work of
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thorough understanding of weave structures. Students also learned sewing, drafting patterns, embroidery, and studied many lesser-known textile techniques. Good craftsmanship and design was emphasized. Kaija writes that "Although my first weave was somewhat discouraging, I think I learned more from it than from any later one. I learned the function and meaning of the various parts of the loom, the relationship between a draft and a weave, and above all how to repair broken warp threads and as you all know, the knowledge one gains the hard way is not easily forgotten."
169:. Kaija stated that this impactful workshop helped Kaija further relax the regimented methods of her traditional education while also making her designs more disciplined and ambitious. The consecutive years of 1981 and 1982 saw Kaija as a summer faculty member teaching Architectural Weaving at the Banff Centre.
72:(née Lehtimäki) was a Finnish-born Canadian weaver, whose contributions were significant to the craft and art community of Canada. Renowned for her exceptional use of colour, structure, creation of innovative techniques, and impact on Canadian weaving, Kaija left an enduring legacy in Canadian art.
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In an artist statement from 1986 Kaija explained that she likes to stretch the possibilities of her work by finding ways to combine straight lines with ripples, folds, or pleats. These raised areas in the tapestry catch light and cast shadows, helping create the atmosphere or mood Kaija wants for the
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which uses her own version of the
Moorman weave to achieve a pictorial image. Kaija later refined this method which she called 'double weave' and 'inlaid tapestry weave.' These methods have two warps, which allowed Kaija to separate and reconnect the yarn systems resulting in three-dimensional works.
276:
An interview "From Inner Eye to Public View: Designing with Kaija
Sanelma Harris," by Dorothy Boran, discusses this use of blending threads and the different kinds of yarns Kaija used. Boran also discusses how the technical knowledge of Kaija's material lets her explore and innovate different methods
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Kaija was known for her keen sense of colour. She found inspiration from the landscape around her, on both a large and small scale. In an interview with Sheila
Roberson for The Craft Factor, Kaija reflected on when she first moved to Saskatchewan: “I fell in love with the province early, driving from
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This technique of blending threads combined with Kaija's technical skills created complex and compelling uses of colour. When viewed up close these complicated blends reveal lines of individual fibers that combine into a smooth transition when viewed at a distance. This playful use of colour creates
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Working off her traditional education, and inspired by the experimental textile work seen in the United States and Sweden, Kaija began to weave more ambitious tapestries, and secured her first solo exhibition at the
Shoestring Gallery in Saskatoon in 1975. Kaija received her first of five Dimensions
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Kaija
Sanelma Harris was born in Turku, Finland, in 1939. At the age of four, Kaija and her sister were sent to Sweden to escape the threat of Soviet occupation. Both her Finnish biological mother and her Swedish foster mother were accomplished textile workers. Kaija's Swedish foster mother knit and
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After completing her education, Kaija moved to
ReykjavĂk and worked as an assistant to Sigrun Jonsdottir, an Icelandic textile designer specializing in batik and ecclesiastical art. While in Iceland, she met American Fulbright student Richard Harris and married. Kaija's first introduction to North
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Kaija's exploration of double weaving led her to consider how tapestries can be deconstructed, filled, and altered after the weave is off the loom as well. Kaija's "Wild Goose Chase" series played with how shrinkage from washing the textile can produce new textures and forms. In these works light
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the south to the north. I loved the light on the prairie”. In the same interview, Kaija expands on how the landscape inspired and influenced her work and talks about finding the elusive quality and subtle colours of nature that captivated and motivated her to express them through weaving.
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Kaija's legacy as an innovative and hardworking artist is significant in the
Canadian weaving community. She is remembered for developing new structures and methods in weaving, her sensitive approach to color, and her unwavering commitment to her practice. Kaija Harris passed away on August 27th,
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Following high school, Kaija studied weaving at Abo
Hemslojdslararinne Institut (Turku Textile Teachers Institute) from 1960 to 1964. Kaija describes this experience in an artist statement she wrote in 1988. The school was very traditional. Students learned to spin, dye, and weave, and received a
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who collaborated with Kaija on an exhibition combining each artist's weaving and jewelry, described how Kaija's aptitude for textiles began at an early age. Broner recounted a story where Kaija's mother asked her to go out and purchase more thread, giving the small child a single blue string for
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is constructed of 24 panels that took Harris and an assistant nine months of full time work to complete. Myrna Gent describes in a Craft Factor article that Kaija worked twelve hours a day, seven days a week for that period of time, while her assistant worked eight-hour days, five days a week.
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Harris stated that she is very interested in colour but in theory has not received any formal training. She described that her colour use and choice is intuitive, and that she had no inhibitions toward colour. She can put any colour anywhere, and it tends to work. This lack of inhibition is
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Kaija
Sanelma Harris developed contemporary structures and methods not previously used in weaving. Combined with her unique approach to colour, this has made her one of the most innovative weavers in Canadian art. In an interview with curator George Moppett for the Mendel Art Gallery's
708:“The workshop with Mariette Rousseau-Vermette at the Banff Centre was most rewarding. She is a marvelous person and very generous with her help and advice, even concerning pricing.” – KSH. Correspondence with Cynthia Coop, August 21, 1977, Appendix: Section 3; o,p; 1; 10
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Banff Center
Archives, Arts Administration Fonds, “Summer 1981 Program- Multi-Harness Weaving Technique (course description)”, and “Summer 1982 Program - Multi-Harness Architectural Weaves Woven Fiber Series 2 (course description)”
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The use of colour and texture in Kaija's tapestries were important to her. She chose different threads to blend together, working with shades and values to create the exact colour blends that she needed for her works.
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exhibition catalogue, Kaija described how she developed her own inlaid tapestry weave based on a technique of the British weaver, Theo Moorman. Kaija's first experiments resulted in a series of tapestries called
592:
Robertson, Sheila, "Kaija Harris- Working with the Grid", The Craft Factor, V.28, N.1, (2003), pp.4-8. https://saskcraftcouncil.org/wp-content/uploads/2022/09/Vol28-No1-Craft-Factor-Fall03.pdf
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to blend colours to create the effects she desired. This allows for further colour explorations that may seem questionable in other uses, yet are beautifully executed in her work.
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Her works have been featured in solo and group exhibitions across Saskatchewan, Canada, the United States and in Europe. Kaija's works are in numerous collections such as
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in 2001. She received a Canada Council Craft Grant in 1996, a Saskatchewan Arts Board Creative "A" Grant in 1987, and the Saskatchewan Arts Board Travel Grant in 1984.
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These three-dimensional structures are in the body of the tapestry and integrated with the pattern itself, rather than assembled separately and attached afterwards.
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Kaija Sanelma Harris, Annemarie Buchmann-Gerber, notes on in-person interview with Zoé Fortier and Les Potter, Saskatoon, June 11th, 2015, Saskatchewan Craft Council.
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remarkable dimensionality in her works. Kaija also considered how different yarns and threads absorb and reflect light, further adding to their visual depth.
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in 2023. Alongside large tapestry work Kaija also fulfilled commission work for interior designer and crafts advocate interior designer and crafts advocate
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embroidered clothes for her, and Kaija's Finnish mother was a seamstress who worked out of their home, making gowns to a customer's specifications. Artist
733:
Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960-2000 The Gift of Time, The Gift of Freedom: Weaving and Fiber Art at the Banff Center
154:. After a few years of moving between the United States and Sweden following Richard Harris' teaching work, the Harris' settled in Saskatchewan in 1973.
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Nov 10, 2001, https://www.proquest.com/newspapers/artist-constantly-testing-exploring-textiles/docview/348576207/se-2 (accessed December 21, 2023).
601:
Broner, Megan, "Interview with Megan Broner" by Zoé Fortier. August 2015, Appendix, Kaija Sanelma Harris Archive, Saskatchewan Craft Council.
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Harris, Kaija Sanelma, Artist Talk on the quality of teaching in Finland, Appendix, Kaija Sanelma Harris Archive, Saskatchewan Craft Council.
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Harris, Kaija Sanelma, Artist Statement draft, dated December 09 1988, Appendix, Kaija Sanelma Harris Archive, Saskatchewan Craft Council.
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Prairie Interlace: Weaving, Modernisms, and the Expanded Frame, 1960-2000: Living and Livable Spaces: Prairie Textiles and Architecture
324:(1999) shows the consideration that she put into her works through the small details of embroidery which finish the tapestry.
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piece. Examples of Kaija's double and inlaid techniques resulting in three-dimensional works can be seen in her pieces such as
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Kaija Harris audio interview, 1982. AA44a.39, Arts Administration fonds. Paul D. Fleck Library and Archives, Banff, Alberta.
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V.28, N.1, Fall 2003. pgs. 4-8. https://saskcraftcouncil.org/wp-content/uploads/2022/09/Vol28-No1-Craft-Factor-Fall03.pdf
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Miller, Cathryn, Transcript of video interview with Zoé Fortier, Saskatoon, summer 2015, Saskatchewan Craft Council.
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America was in the state of Iowa, in Cedar Rapids. There Kaija attended an exhibition of weaving organized by the
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Making Meaning, Art and Craft in Saskatchewan, 1994, National Exhibition Center, Swift Current SK, Group Show
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gauzy weavings have been made to hang and be seen from both sides. In an article by Sheila Robertson for the
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at the time stamp of 1h, 21m, while it was installed at the TD Centre. This work was later donated to the
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2024-2025. A joint exhibition between the Saskatchewan Craft Council and the Remai Modern. Solo Show
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collection in Regina, Saskatchewan. This notable donation prompted the highly regarded exhibition
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Heinemann, Michelle. "Premier's Prize awarded for tapestry." The Craft Factor. V.9, N.3. pg. 12
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Kaija exhibited in many group shows and had several solo shows between 1975 and 2008, including
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demonstrated in the way she blends and combines yarns, creating a fascinating depth of colour.
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In Place: Craft from Saskatchewan, 1991, Saskatchewan Craft Council, Saskatoon SK, Group Show
909:, 1986. Kaija Sanelma Harris Archives, Appendix, Section 4, W. Saskatchewan Craft Council.
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https://saskcraftcouncil.org/wp-content/uploads/2022/09/Vol9-No3-Craft-Factor-Summer-84.pdf
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Here and Now: Canadian Fiber Art, 1986, The Gallery and Library, Cambridge ON, Group Show
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Pirkko Karvonen, "Personality Profile: Kaija Sanelma Harris is a world renown artist,"
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Keene, Susan Warner. "New Faces at the TD Center." Ontario Craft, Spring 1986. pg. 15.
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Boran, Dorthy. "From Inner Eye to Public View: Designing with Kaija Sanelma Harris",
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Something New on Broadway, 1990, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Laviolette, Mary-Beth (2023). Hardy, Michele; Long, Timothy; Krueger, Julia (eds.).
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A Treasury of Canadian Craft, 1992, Canadian Craft Museum, Vancouver BC, Group Show
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211:, creating custom throws, afghans, and blankets, two of which are in the esteemed
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Small Expressions, 1986, St.Lawrence Cener for the Arts, Toronto, ON, Group Show
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Commonwealth Collection, 1987, Vancouver Art Gallery, Vancouver BC, Group Show
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Surette, Susan (2023). Hardy, Michele; Long, Timothy; Krueger, Julia (eds.).
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Made for a Cause, 1994, Saskatchewan Craft Council, Saskatoon SK, Group Show
850:(2): 8–9 – via The Craft Factor Archive (Saskatchewan Craft Council).
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Black and White, 1986, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Contemporary Murals, 1988, Center des Arts Visuels, Montreal QC, Group Show
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Northern Comfort, 1988, Saskatchewan Craft Council, Saskatoon SK, Solo Show
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Dimensions '84, 1984, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '86, 1986, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '87, 1987, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '88, 1988, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Collaborations, 1988, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '89, 1989, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '90, 1990, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '92, 1992, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '93, 1993, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '94, 1994, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '95, 1995, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Dimensions '97, 1997. Saskatchewan Craft Council, Saskatoon SK. Group Show
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Dimensions '98, 1998. Saskatchewan Craft Council, Saskatoon SK. Group Show
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Robertson, Sheila. "Artist Constantly Testing and Exploring Textiles: ."
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Saskatchewan Open '86, 1986, Mendel Art Gallery, Saskatoon SK, Group Show
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Saskatchewan Open '92, 1992, Mendel Art Gallery, Saskatoon SK, Group Show
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Northern Comfort (1988), Tapestries 1990-1993 (1993), Colour Maps (2008),
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alongside several other prominent Canadian artists to create art for the
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Saskatoon: Mendel Art Gallery, 1993. Published following the exhibition
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Then and Now, 1986, Saskatchewan Craft Council, Saskatoon SK, Group Show
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Saskatchewan Open '90, 1990, Mendel Art Gallery, Saskatoon S, Group Show
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Tapestries 1990-1993, 1993, Mendel Art Gallery, Saskatoon SK, Group Show
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Veiled Images, 1995, Saskatchewan Craft Council, Saskatoon SK, Solo Show
360:, 2022. Nickle Galleries, University of Calgary, Calgary, AB. Group Show
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Fabrications, 1986, The John Black Arid Gallery, Toronto ON, Group Show
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Dimensions: Fiber, 1986, Musée Marsil Museum, St-Lambert QC, Group Show
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Kaija has been the recipient of many awards and grants, including five
184:, the largest of the commissioned pieces displayed at the TD Centre.
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reference, of which Kaija was able to perfectly match from memory.
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Craft Focus 2, 1986, Ontario Crafts Council, Toronto ON, Group Show
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Spotlight '88, 1988, The Exchange District, Winnipeg MB, Group Show
203:
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in Alberta in 1980, under the tutelage of renowned textile artist
348:, 2023. Art Gallery of Southwest Manitoba, Bandon, MB. Group Show
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Soft Wall, 1998. Manitoba Craft Council, Winnipeg MB. Group show
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1988, Craftspace, Manitoba Crafts Council, Winnipeg MB, Solo
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Northern Comfort, 1988-1989, Touring Saskatchewan, Solo Show
402:, 1999. Saskatchewan Craft Council, Saskatoon SK. Group Show
390:, 2000. Saskatchewan Craft Council, Saskatoon SK. Group Show
378:, 2003. Saskatchewan Craft Council, Saskatoon SK. Group Show
372:, 2004. Saskatchewan Craft Council, Saskatoon SK. Group Show
366:, 2008. Saskatchewan Craft Council, Saskatoon SK. Solo Show
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1998. Traditions Handicraft Gallery, Regina, SK. Solo Show
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Merit awards. Kaija was in the top five finalists for the
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Heddle A Canadian Publication for Spinners and Weavers,
354:, 2023. Mann Art Gallery, Prince Albert, SK. Group Show
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Warp & Weft, A Kaija Sanelma Harris Retrospective,
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Kaija attended the Fibre Interchange workshops at the
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https://www.banffcentre.ca/library-archives/archives
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In an interview with the Banff Centre radio program
384:, 2000. Station Arts Center, Rostern, SK. Solo Show
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2024. Mackenzie Art Gallery, Regina, SK. Group Show
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453:1991, Cosmo Civic Center, Saskatoon SK, Group Show
447:1991, Gallery Framers Inc, Saskatoon SK, Solo Show
237:a joint retrospective exhibition presented by the
193:can be seen in the background of the famous movie
396:2000. Gallery Stratford, Stratford ON. Group Show
215:. In 2001, Kaija was a top five finalist for the
790:. University of Calgary Press. pp. 79–103.
531:(insert table or viewable works with links)
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735:. University of Calgary Press. p. 71.
890:Kaija Sanelma Harris Tapestries 1990-1993.
551:"Bronfman award upped on 25th anniversary"
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163:Banff Centre for Arts and Creativity
172:In 1983 Harris was commissioned by
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98:Canadian Museum of Civilization
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837:"Adventure in Corporate Art"
653:Heinemann, Michelle (1984).
158:Premier's Prizes in 1978.
958:Finnish emigrants to Canada
266:"Studio: Work in Progress",
100:, the Canada Art Bank, the
81:Premier's Prizes and seven
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245:, which was announced mid
239:Saskatchewan Craft Council
167:Mariette Rousseau-Vermette
110:University of Saskatchewan
108:, the City of Regina, the
96:Residence Collection, the
835:Gent, Myrna (June 1986).
643:V.8, N.1, Jan/ Feb 1992.
310:A Place for Contemplation
223:2022, at the age of 82.
306:On the Way to Shangri-La
123:Early life and education
213:Grotta House collection
178:Toronto-Dominion Centre
44:Saskatoon, Saskatchewan
905:Kaija Sanelma Harris,
195:American Psycho (2000)
217:Saidye Bronfman Award
199:Mackenzie Art Gallery
87:Saidye Bronfman Award
894:Tapestries 1990-1993
288:Tapestries 1990-1993
182:Sun Ascending (1984)
148:Museum of Modern Art
70:Kaija Sanelma Harris
20:Kaija Sanelma Harris
328:List of exhibitions
907:Personal Statement
340:Prairie Interlace,
230:and posthumously,
948:People from Turku
358:Prairie Interlace
352:Prairie Interlace
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174:Cadillac Fairview
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59:Notable work
943:2022 deaths
938:1939 births
815:|isbn=
797:20230540430
760:|isbn=
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364:Colour Maps
322:On the Wane
308:(1990) and
293:Transition,
94:Rideau Hall
932:Categories
568:2024-08-22
535:References
394:Arts 2000,
312:(1998).
83:Dimensions
78:Dimensions
50:Occupation
806:cite book
751:cite book
563:387243211
559:ProQuest
304:(1984),
241:and the
118:SK Arts.
235:(2024),
106:SaskTel
813:Check
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141:Career
116:, and
53:Weaver
840:(PDF)
658:(PDF)
819:help
792:ISBN
764:help
737:ISBN
219:.
38:Died
26:Born
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