Jeneen Frei Njootli’s new body of work makes use of power tools, utility objects and tarps found in their community of Old Crow to present immediate sculptures. The game of visibility and invisibility in artistic representation is reconfigured. They reflect on the practice of code-switching, specifically as they move between the remote community, queer venues, and academia. They transform utility objects using a fabric representative of debris into allegories of the experience of survival, thrivance, housing, shelter, bush life, displacement, homelessness, hunting, and Indigenous rights.
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