August 24, 2022

Misipawistik Culture Camp : Photograph Sharing from the Camp


 The participants went to the Misipawistik Culture camp and spend a week there. They created clay vessels and learned to build them and fire them at the camp. KC Adams also invited elders to the camp. They participated in the Full Moon Ceremony with the members of the community.  There were teachings and reciprocity at the camp. They shared their artistic practices and experiences over the week. 

They have dug the clay from the Grand Rapids and fired them there.  

firing clay, photographed by Kylie Hoydalo

photographed by Kylie Hoydalo

photographed by Kylie Hoydalo

photographed by Kylie Hoydalo

photographed by Kylie Hoydalo

photographed by KC Adams

photographed by KC Adams

Second week of Summer Institute: Studio Time


Participants came back from the Culture camp and working on their project in the gallery space. 

The participants working on their project.

Robyn Adams working on beading.

Megan Lindell painting and working in the gallery space.

Shaneela Boodoo on the left and she working on the right.

details of Erika-Jean Lincoln 's work

Erika-Jean Lincoln's work.

Kylie Hoydalo working in progress. 

Open Studio Photographs


Open Studio Installation:  left: Video of Grand Rapids , middle: Kylie Hoydalo's ceramic work, right: Skye Callow's photo installation

Shaneela Boodoo and her work

Sarah Crawley on the left and Derek Bruckner on the right

Robyn Adams and her beading work

Natasha Lynn Gusta on the left and work on the right

Natasha's work and Megan Dawn Lindell on the right

Erik-Jean Lincoln and her work

Erika's work on the left, Eika and Shaneela on the right

Megan Dawn Lindell on the right and her work on the left

Skye Callow and her work

Kylie  Hoydalo's work

group photo on the roof top

Summer Institute 2022 : Water Knowledge


KC Adams is a Winnipeg-based artist who graduated from Concordia University with a B.F.A in studio arts. Adams has had several solo exhibitions, group exhibitions and been in three biennales including the PHOTOQUAI: Biennale des images du monde in Paris, France. Adams participated in residencies at the Banff Centre, the Confederation Art Centre in Charlottetown, the National Museum of the American Indian and the Parramatta Arts Gallery in Australia. Her work is in many permanent collections Nationally and Internationally. Twenty pieces from the Cyborg Hybrid series are in the permanent collection of the National Art Gallery in Ottawa and four trees from Birch Bark Ltd, are in the collection of the Canadian Consulate of Australia, NSW. She was the scenic designer for the Royal Winnipeg Ballet’s Going Home Star: Truth and Reconciliation. She helped design a 30-foot public art sculpture called Niimamaa for the Winnipeg Forks and a piece for the United Way of Winnipeg called Community. Adams was awarded the Winnipeg Arts Council’s Making A Mark Award and Canada’s Senate 150 medal recipient for her accomplishments with her Perception Photo Series. KC is now an author with her book Perception: A Photo Series that Quill & Quire chose as a 2019 Book of the Year.


Erika-Jean Lincoln is an artist, researcher, and mentor living in Winnipeg-Treaty 1 territory. Over the past 20 years she has been challenging conventional knowledges and ideologies embedded in symbols, systems, and objects. Her method of art-making speaks from a perspective of cognitive difference in the style of non-conformity, un-doing, mis-fitting, and troubling. Erika-Jean has been awarded multiple grants over the years enabling her to learn, speculate, and make. She continues to exhibit and attend residencies near and far.

Kylie Hoydalo is a Métis artist and art educator living on Treaty 1 Territory. Her work explores ceramic processes and how clay nurtures the relationship between communities and their connection to the land. Kylie seeks to challenge the traditional shapes and functions of ceramics through rethinking wheel throwing, hand building and sculptural techniques. As an educator, her practice is deeply connected to working with the community and facilitating accessible art opportunities for children and adults. Kylie believes that utilizing art with the community is a practice that allows for social justice, fostering deeper connections and permits artists of differing backgrounds and capacities to reach their true potential.

My written name is Megan Lindell and my spirit name is Eagle Moon Woman. I am Anishinaabe-Metis and from Turtle Clan. I did not grow up learning about my culture, however, I now walk in a way where it guides me each day. I began to learn about Anishinaabe teachings, next I began to bead with the Louis Riel Institute, and finally, I began to teach. Years later, I began to paint the Woodland style of painting when a host in France asked me to paint for them. What I create through painting comes through the guidance of spirit and represents relatedness and life. I am thankful and amazed when a vision of a painting comes to me. I enjoy creating and sharing in a way that I am hopeful helps others. Even it if is only one person, I know that I have done what I needed to do. I work to share the truths of Creation that may not commonly be known about. I share my truth and I give from my heart with hope for positive change that respects Indigenous world views. I have also began to create my paintings with a focus on having the ability to meditate with them and to receive or let go of what one needs. I believe that through creating, we are giving new life. It is up to us how we give it.

Natasha Gusta was born in 1989 on Treaty One Territory. Her studies in Fine Arts were completed at the University of Manitoba and Temple University’s Tyler School of Art. She now divides her time between Winnipeg and the Kenora area. Her current work is comprised of a series of painted objects that reference household items of everyday significance and utility. Moving forward, she will aim to broaden the scope of this work, both materially and conceptually, to better understand the impact of colonization along the Winnipeg River.

Nishina Shapwaykeesic-Loft is a Kanien’kehá:ka woman from Tyendinaga Mohawk Territory. She is a queer, multi-disciplinary artist in a wide spectrum of mediums. She has a Bachelor of Fine Arts with Honours from York University in Theatre Production and Design. She works in the film, theatre, and mural arts industries. She continues to grow within her field and explore new opportunities.

Rachel Bach is Ktunaxa from ʔakisq̓nuk First Nation. She is fiercely committed caring for pregnant folks and their families and working towards the growth of community-based Indigenous midwifery care. Rachel works as a registered midwife at Mount Carmel Clinic in Winnipeg’s North End and as an Instructor in the Bachelor of Midwifery program at the University of Manitoba. Rachel completed the Midwifery Education Program at the Toronto Metropolitan University (formerly Ryerson University) but her heart is in Manitoba where she completed her Bachelor of Arts at the University of Manitoba and Masters in Development Practice in Indigenous Development at the University of Winnipeg. Her community work and research experience demonstrate a decade long commitment to reproductive safety and culturally-based care for Indigenous women and pregnant people.

Robyn Adams is a multi-disciplinary Red River Métis artist from Winnipeg, Manitoba. Her Métis family is from la Rochelle and St. Pierre Manitoba. She is currently a dual Masters of Architecture and Landscape Architecture student at the University of British Columbia and holds an Bachelor of Fine Arts Honours from the University of Manitoba focusing on sculpture and film photography. Her work researches Indigenous Knowledge and connecting the environment with architecture and identity through connection to the land, spirituality, and ancestry. She enjoys fishing, medicine picking, travelling, and making things with her hands.

Sarah Crawley works with ideas generated from lived experience using different photographic technologies and materials as she stubbornly clings to analog film and alternative photography techniques. Crawley’s approach invites unintended consequences through material use and process as she purposely gives up control, embracing and encouraging the accidental during both capture and processing. Her recent investigations examined the impact vulnerability and personal loss have on identity and she is currently exploring ideas around healing, resilience and reciprocal actions through the creation of plant-based anthotype prints. Crawley has exhibited large-scale prints, installations and book works across Canada in solo and group shows as well as internationally; her work is held in several public collections including the Banff Centre for the Arts, the City of Winnipeg, the Province of Manitoba and the Canadian Government. She acknowledges living on and engaging with Treaty One Territory, the original lands of Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and the Homeland of the Red River Métis Nation.

Shaneela Boodoo is a graduate of the University of Manitoba with a BFA (Honours) in Design. She is a second-generation immigrant, born and based in Winnipeg, Manitoba, and identifies as Indo-Caribbean. As an emerging artist, designer, and curator, Boodoo explores themes such as colonialism, displacement, and womanhood. Boodoo has also worked to establish and brand many BIPOC collectives in the city, such as RIND, Patterns Collective and Chroma Collective. She has curated shows such as Adornment and Analogous that centered the experiences of BIPOC in institutional spaces, such as the School of Art Gallery.

Skye Callow is an interdisciplinary artist who works within a spectrum of mediums, with a focus on installation, lens based media, sound, and performance. She engages in the corporeal nature of being in relation to the earth; a motif of ecology, self, and the land continuously presents itself. She delves into the idea of future ecologies with a current interest in the relationship and merging of natural and synthetic materials. In understanding these relationships, it allows the conceptualization of evolved futures and a view of how that would take shape. She is currently based in Winnipeg, Manitoba and has recently received her BFA (Hons.) from the University of Manitoba (class of 2022).


We are on Treaty 1 Territory. Plug In ICA is located on the territories of the Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and the homeland of the Métis Nation.

Plug In ICA extends our heartfelt gratitude to our generous donors, valued members, and dedicated volunteers. We acknowledge the sustaining support of our Director’s Circle. You all make a difference.

We would like to The Winnipeg Foundation for their ongoing support of Plug In ICA.

We gratefully acknowledge the support of the Canada Council for the Arts, the Manitoba Arts Council and Winnipeg Arts Council. We could not operate without their continued financial investment and lobbying efforts.

Plug In ICA relies on community support to remain free and accessible to all, and enable us to continue to present excellent programs. Please consider becoming a member of Plug In ICA and a donor at or by contacting Erin Josephson-Laidlaw at

For more information about our programming, contact Luther Konadu at

For general information, please contact: or call 1.204.942.1043.

September 3, 2019

Summer Institute 2019 Session 2. Indigenous Architectures.


Joar Nango is an architect, builder, artist and self-publisher. Nango’s work often parses out the division between design, architecture, and visual art and uses improvisation as method and process. A long proponent of printed matter and its political potential to mobilize larger social transformations, Nango along with collaborators, have fulfilled publication projects including The Indigenuity Project, The Normadic Library and the self-published zine series Sámi Huksendáidda: the Fanzine. Nango has been part of a number exhibition projects throughout Canada and elsewhere. Among which includes, SAW Gallery in Ottawa, Vancouver’s Western Front, Gallery Deluxe in Halifax, and The National Museum of Art, Architecture and Design in Oslo, Norway, Sydhavn Station in Copenhagen, Denmark, Bildmuseet in Umeå Sweden and Tensta Konsthall in Stockholm. He recently presented European Everything at Documenta14 in Athens and Kassel in 2017.

Albyn Carias is an interdisciplinary artist that is originally from El Salvador. He immigrated to Canada at the age of 13 with his family and is fluent in Spanish and English. Albyn’s artistic research focuses on experimentation with unconventional materials to push the complexity of art beyond its imposed borders. His major focus is working with the Latino community in Brandon Manitoba, with an emphasis on immigration. He develops community-based artworks that discuss the barriers that Latino immigrants face everyday. Albyn graduated with a degree in Fine Arts from Brandon University Ishkabatens Waasa Gaa Inaabeteg.
Carrie Allison is an Indigenous mixed-ancestry visual artist, writer, arts administrator and educator, born and raised on unceded and unsurrendered Coast Salish Territory (Vancouver, BC). Situated in K’jipuktuk since 2010, Allison’s practice responds to her maternal Cree and Metis ancestry, thinking through intergenerational cultural loss and acts of resilience, resistance, and activism, while also thinking through notions of allyship, kinship and visiting. Allison’s practice is rooted in research and pedagogical discourses. Her work seeks to reclaim, remember, recreate and celebrate her ancestry through visual discourses. Allison holds a Master in Fine Art, a Bachelor in Fine Art and a Bachelor in Art History from NSCAD University.
David Peters is from the East coast where the ad hoc response necessitated by living against resource depletion means that people become clever in lean times. He knows that work set against lack is a creative endeavor, and feels best about his work is when it has some lived element, when it seems to become indistinguishable from everything else. Peters is part of an epistolary drawing and writing practice that bridges distances between friends and part of a collaborative practice with artist Leah McInnis under the name Club Assembly. Peters and McInnis work with salvaged materials to create arenas for the curious.
Evan Taylor is a Métis architectural intern and designer from Winnipeg, Manitoba. His interests lie in exploring spatial narratives, through drawing and making, as a participatory tool for architectural discourse within complex cultural scenarios and environmental conditions. Recent works look toward imagining constructive and collaborative futures for remote settlements and indigenous communities in northern Canada. He has travelled to remote First Nations communities to study the conditions of current housing stocks, and was recognized by Architects Without Borders’ “Indigenous Housing Competition” in 2018 for his proposal “Towards a New Normal” which approaches indigenous housing not as a singular design solution, but as a consequence of the socio-political and environmental variables that precede the creation of the dwelling itself. Evan holds a Bachelor of Environmental Design from the University of Manitoba’s Faculty of Architecture and a Master of Architecture from Carleton University’s Azrieli School of Architecture and Urbanism. He currently lives in Toronto, working towards a professional architectural license.
Lorraine Albert is an interdisciplinary artist, educator, and designer whose work is rooted in conceptual ideation and lateral thinking, with an ongoing interest in pedagogy, design, and counterhegemonic theories. Her artistic and design practices put forth notions of space (place), body (movement), and time (pace) converge. She has a degree in Graphic Design (Dawson College), a Bachelor of Fine Art (Concordia University) and a Masters of Fine Art (NSCAD University). Lorraine presented a paper on alternative art pedagogies (2017) and co-facilitated a round-table addressing Land & Treaties (2018) at the Universities Art Association of Canada (UAAC) conference and was a panelist (2017) at the International Council of Fine Arts Deans (ICFAD) conference in Halifax, NS. Most recently, Lorraine was a scholar at the Centre for Art Tapes and presented choreographic work with Kinetic Studio, Halifax. Her work has appeared in festivals, galleries, and at various sites in Canada and Australia, including “Steps Forward,” a permanent installation on the Skyline Trail in the Cape Breton Highlands National Park.
Alicia Marie Lawrence is an urban contemporary artist working in two-dimensional mediums including painting, drawing and mixed media, and also works in the realm of textual art and creative writing, and integrating text and syllabics with visual media. Alicia is competent in the use of digital media, graphic design and communications, and is interested in the way drawing awareness to signage structures knowledge of our environments. At Plug In, she hopes to learn about ways to connect visual messaging in space to creative dialogues that nourish, energize, stabilize, and form an emotional, social and spatial compass. Alicia engages in process, technique and aesthetic, as statement, and continually explores the relation between artist, subject and viewer. She has completed coursework in visual art studio at Emily Carr University of Art + Design and Vancouver Island School of Art, and holds a Certificate in Art & Design Studio Skills from the Ontario College of Art & Design, and a Graduate Certificate in Creative Writing from Humber College.
Julie Gendron is an artist and designer who works within the areas of interactivity, accessibility, playfulness and change. Julie designs and facilitates experiences that allow people to explore and create their own point of view, culture and communities. Julie completed her graduate work in the department of Art, Design and Technology at Concordia University specializing in Participatory Design. She has received awards and grants from the Japan Media Art Festival, Canariasmediafest (Spain), Canada Council for the Arts, BC Arts Council, Centre interuniversitaire des arts mediatiques, Dora and Avi Morrow Award for Excellence in Visual Arts and BC Film. She has shared her work at various conferences in Canada, Spain, Japan, Australia and the US. Julie currently works independently under the guise of doing digital strategy, creative design, interaction strategy and installations.
Our Summer Institute in 2019 were generously supported by the RBC Foundation and Johnston Group.

Summer Institute 2019. Indigenous Architectures. Found objects on Site location. Objects used as main construction pieces for Installations.

Summer Institute  2019, Indigenous Architectures. Site Location Pre-setup.

Summer Institute 2019. Indigenous Architects. Process. 

Joar Nango, Albyn Carias, Carrie Allison, David Peters, Evan Taylor, Lorraine Albert, Alicia Marie Lawrence, Julie Gendron.  Site Setup / Stages Launch party. Summer Institute August 16, 2019. Indigenous Architectures. 

Summer Institute II: Indigenous Architectures| Panel Discussion | Cheyenne Thomas, Ryan Gorrie, and David ThomasModerated by Joar Nango

Plug In Institute of Contemporary Art | 1, 460 Portage Ave | Winnipeg MB | Canada

Thursday, August 08, 2019 – 6pm
Plug In ICA is pleased to present a panel discussion between Cheyenne Thomas, Ryan Gorrie, and David Thomas moderated by Joar Nango in conjunction with the Summer Institute II: Indigenous Architectures. Each speaker will give a brief overview of their respective practice and speak to Indigenous urbanisms, architectures and landscape design projects in the city of Winnipeg and beyond.
Cheyenne Thomas is an Anishinaabe designer from Peguis and Sagkeeng First Nations. She graduated in 2013 from the Faculty of Architecture with an Environmental Design degree. She has worked on numerous Indigenous architecture, landscape, and installations across Canada. She is a facilitator and designer for the Indigenous Gardens at the Assiniboine Park. She has presented in London, New Zealand, and extensively across Canada. Currently, Thomas is a board member for the Forks and North Portage Partnership, and passionate about bringing her people’s visions and values into her projects.
Ryan Gorrie has been collaborating with Brook McIlroy since 2009, when he was retained as a key member of the design team for the award-winning Spirit Garden in Thunder Bay, and formally joined the firm in 2016 to lead the Indigenous Design Studio. Ryan is a member of Bingwi Neyaashi Anishinaabek (Sand Point First Nation on Lake Nipigon) and strives to ensure the perpetuation of Indigenous culture through creative opportunities ranging from the crafting of traditional items for ceremonial use to large-scale landmark architecture. In 2018, Ryan’s work was showcased in UNCEDED: Voices of the Land at the Venice Biennale along with the work of 17 other Indigenous architects and designers across Turtle Island.
David Thomas is Anishinaabe, a member of Peguis First Nation, in the architecture profession for over 20 years.  He is currently involved in the development of the Indigenous People’s Garden at Assiniboine Park part of Canada’s Diversity Garden. Along with Indigenous architecture projects and installations in Toronto and Vancouver, David has presented in New Zealand and the UK. David was also on the team of UNCEDED, Canada’s entry of Indigenous Architects for the 2018 Venice Architecture Biennale. David’s practice, process and research focus on identity and lived experiences as an Indigenous person.
Our 2019 Summer Institute II: Indigenous Architectures is lead by Joar Nango, who is joined by Lorraine Albert, Carrie Allison, Albyn Carias, Julie Gendron, Alicia Marie Lawrence, David Peters, and Evan Taylor for a collaborative two week session that will focus on Indigenous architectures, foregrounding Indigenous approaches to design and alternative models of social space.

Summer Institute II: Indigenous Architectures | Panel Discussion | Cheyenne Thomas, Ryan Gorrie, and David Thomas. Moderated by Joar Nango  August 8th 2019.

Raymond Boisjoly has a BFA from Emily Carr Institute of Art and Design where
he currently teaches. He also has an MFA from UBC and has exhibited work
widely across Canada and abroad. Boisjoly has shown work at Platform Centre
for Photographic + Digital Arts, Winnipeg; The Power Plant, Toronto; Vancouver
Art Gallery; Camera Austria, Vienna; Triangle France, Marseille; and most
recently at SITElines, Santa Fe. In 2017, he was a finalist for the AIMIA|AGO
Photography Prize as well as the Sobey Art Award. Writings on Boisjoly’s work
have appeared in Mousse Magazine, C Magazine, and OSMOS Magazine to name a few.
He is represented by Catriona Jefferies, Vancouver.

Raymond Boisjoly, Artist Talk. Summer Institute 2019. Indigenous Architectures. 

Chris Cornelius is a citizen of the Oneida Nation of Wisconsin and an Associate Professor of Architecture at the University of Wisconsin-Milwaukee. He is the founding principal of studio:indigenous, a design practice serving Indigenous clients. Cornelius was a collaborating designer with Antoine Predock on the Indian Community School of Milwaukee, and is the recipient of numerous awards and honors, including the inaugural Miller Prize from Exhibit Columbus, a 2018 Architect’s Newspaper Best of Design Award, and an artist residency from the National Museum of the American Indian. Cornelius has exhibited widely, including at the 2018 Venice Architecture Biennale.

Chris Cornelius Artist Talk. Summer Institute August 13,
 2019. Indigenous Architectures.