Gabriela García-Luna

Gabriela García-Luna is a photo-based, multimedia artist born in Mexico City living in Saskatchewan.

For more than two decades García-Luna has investigated paradoxical possibilities where apparent documented reality and imaginary abstract possibilities meet. Her work involves photography, printmaking, drawing, sculpture and video and installation work. Her practice is rooted in observation and experience, carries indexes of her personal history, the places of her origin and transits, and a constant curiosity about her relationship with the natural world.

García-Luna’s work has been exhibited in multiple solo and group exhibitions in Mexico, Canada, UK and India, including Summa, Museo del Carmen, Mexico City (2003); MIND THE GAP!, Dunlop Art Gallery, Regina, Canada and Art Gallery of Ottawa, Canada (2009-2012); New Territories, Illingworth Kerr Gallery, Calgary (2010), Pensive Space, Moose Jaw Museum and Art Gallery (2010); Landscape and Silence, Kashi Art Gallery, Kochi Muziris Biennale Collateral Exhibition, Kochi, Kerala (2016); Garden of Skin, Angus-Hughes Galley, London UK, (2018); EDGE, Art Gallery of Regina, (2019); Beyond the Stone Angel: Artists Reflecting on the Death of their Parents, Regina (2021).

She has received grants and awards from Omnilife Grand Prize, Queretaro Libertad Art Contest, 2003; FONCA (National Foundation for Culture and Art Fellowship – Mexico), the Saskatchewan Arts Board and the Canada Council.

García-Luna’s work is part of public and private collections including Global Affairs Canada, the Saskatchewan Arts Board; the MacKenzie Art Gallery; the Moose Jaw Museum and Art Gallery; OMNILIFE Collection and Gobierno del Estado de Querétaro, Mexico. She holds an MFA in Studio Arts from the University of Saskatchewan and a BDes from the Autonomous Metropolitan University (UAM) in Mexico City. Her work is represented by Slate Fine Art Gallery in Regina, Saskatchewan.

Rebecca La Marre

Rebecca La Marre is a neurodiverse, queer artist with a writing, research and performance practice. She uses clay and text to give form to questions about what it means to be a person in the world, and how ideological structures, religious trauma, language and ritual can shape bodies. Her performances and texts are driven by what she reads and make use of materials that include the human voice, text and clay. The first person to teach her about clay was her grandmother, an artist who exhibited her work in domestic settings and craft markets.

Her work is exhibited and published internationally. Venues include the Serpentine Gallery, MOMA PS1, and the Darling Foundry. Her writing has been published in journals and periodicals including The Happy Hypocrite, Organism for Poetic Research, Poetry is Dead and Through Europe. She is the former editor and publications coordinator for Remai Modern, an emeritus commissioning editor for E.R.O.S. Journal in London, UK, and founder of Apophony Press in Saskatoon.

She holds a master’s in art writing from Goldsmiths, University of London, and is the recipient of funding from SK Arts, the British Arts Council, The Conseil des arts et des lettres du Québec, and the Federal Government of Canada.