100:, who adorns a mask of mirror shards, presents an answer to this question of assertions of sovereignty through a vulnerable lens using traditional images such as masks, and juxtaposing this with the fragility of the mirrors. Burning describes it as “the realization that unsettling our territories is a process that Indigenous peoples must take responsibility for alongside settlers by acknowledging internalized colonialism, reflecting upon it and actively wanting to change it." Praised by fellow artists The
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ultimately explores the relationship between settlers and
Indigenous peoples and what it means for Indigenous peoples to assert their presence on their traditional land. For the series, Burning asked themselves, "What do I look like—what does it look like—when I assert my sovereignty over the land as
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is a performance and installation piece intended to promote healing within survivors and their descendants through audience engagement. The piece encourages spectators to write on the wall of the residential school and "show positivity" towards those impacted by the residential school system and its
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Lacie
Burning's art is rooted in their upbringing, experiences, and identity as a Kanien'kehá:ka and Onöñda'gega Indigiqueer person. Burning's art portrays a Haudenosaunee perspective and grapples with Indigenous relationships to land, representation and “the gaze.” Burning incorporates traditional
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Burning's work has been praised by the art community through various awards celebrating its unique themes and multi-disciplinary approach. Burning was the runner-up in the 2020 Philip B. Lind
Emerging Artist Prize and was awarded $ 1000 as a recognition of their achievement. The Lind Prize is an
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Their work incorporates themes of their upbringing, including their cultural and political background. Being a multi-disciplinary artist, Burning's work combines elements of photography, video, installation, and sculpture to focus on
Indigenous politics and identity from a
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as “the haunting of a genderless ghost body, a protest on the lands that taught
Burning resistance, and a disruption of the supposedly clear idea of what it means to be an Indigenous person assuredly enacting sovereignty over their lands.”
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working in mediums of film, photography, or video. Burning was also long-listed for the New
Generation Photography Award in 2020. The New Generation Photography Award, established in 2017 as a partnership between the
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perspective. Burning has been nominated for various awards in celebration of their work such as the New
Generation Photography Award and was the runner-up to the 2020 Philip B. Lind Emerging Artist Prize.
91:, in 2006. Burning's experience with this conflict at age 12 spurred their political awakening and awareness of the fraught race relations between reserves and the communities that surround them. The
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explores the intersections within
Indigenous identities through photo, video, craft, and installation practices. Forward Facing was created in collaboration with fellow artists
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Lacie
Burning has also engaged in curatorial work. They collaborated with scholar June Scudeler on the exhibition "Unsettling Colonial Gender Boundaries" for the 2017
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was originally displayed in NE:ETH: Going Out of the
Darkness in 2013 in conjunction with the Truth and Reconciliation Commission, where it received acclaim in
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materials and fabrics, such as black velvet from traditional Mohawk regalia and practices such as beading and mask-making within their multi-media approach.
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in Southern Ontario, Canada. Burning is currently based out of Vancouver, British Columbia where they are completing a Bachelor of Fine Arts at
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Burning's art has been featured in a variety of exhibits across Canada. In 2016, Burning was invited to feature their work at the
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legacy. In 2018, Burning's work was a featured exhibition in the CONTACT Photography Festival. Their exhibit
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media art to the forefront. Burning and Scudeler commissioned media works and performances from artists
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is Burning’s most notable photography series exploring land-body reciprocity. The
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510:"Lacie Burning, Rydel Cerezo Win Runner-Up Awards in 2020 Lind Prize"
322:"Lacie Burning, Rydel Cerezo Win Runner-Up Awards in 2020 Lind Prize"
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was inspired by Burning's witnessing of a land claims conflict (the
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for the Mush Hole Project. The Mohawk Institute is a former
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265:"Canadian Art: Land/Body/Reciprocity (with Lacie Burning)"
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