JÆNE
“I’m going to start saying ‘my jæne’ instead of ‘my daughter’... people are going to ask me what that is, my thought is to say it’s a neutral term to describe the relationship between myself and my young; it represents neutrality and inclusivity”.
JÆNE, pronounced like ‘gene’ as in ‘genetics’, is a new word that my mom, Treena, and I developed together to replace the term ‘daughter’. This idea rooted from conversations we had with one another after I came out to her as trans non-binary. One day, my mom suggested the idea to form new meaning through ‘colour’. We spoke about how significant yellow is within our lives; it being my favorite colour, the first colour in the non-binary flag, as well as it being one of the neutral colours my mom used for my bedroom walls and clothing when I was a new born (instead of pink/blue).
JÆNE became the title and overall concept for my BFA graduation show
(January 16th-21st 2023)
“Through ceramics, metal, leather-burning, wood-burning, and ritual; JÆNE makes space for difficult knowledge, discussions, and hardships that stem from queerness. In an effort to explore queer pasts and futures; this exhibition is an invitation for strangers, familiars, loved ones and ancestors to be present for conversations that require connective listening and care”
“Ancestor Altar” (2022-2023)
Wood, metal, spray paint, varnish, hardware
The idea to make an ancestor altar came from a book that a friend let me borrow called “Bones, Shells, and Curios: A Contemporary Method of Casting the Bones” by Michele Jackson. In this book, Jackson talks about ‘ancestor altars’; what they are, the cultural and historical significance, and how go about setting one up. This book resonated with me for many reasons, but one of the most significant things I took from it was the ability to craft my own meaning to what an ancestor altar could be. I realized that this was a way I could begin to answer questions I’ve had on my mind for a while now; ‘Can the passing of knowledge function multidimensionally? Can our past loved ones and ancestors learn through us? Can the torch be passed ‘back’ as much as it gets passed ‘forward’?’.
When talking about ancestors as a white settler, I find it extremely important to be accountable about my positionality. My colonial ancestry roots from Scandinavia/Scotland, and I’ve lived on unceeded and unsurrendered land my whole life here on Turtle Island. I am a treaty person and honour the peace and friendship treaties. My desire to hold connection between my ancestors and I root from being queer. I often wonder if I had ancestors who were queer, and if perhaps they weren’t able to live the way I am able to now. On the other side of the coin, I am curious if I have ancestors who in their past life did not approve of queerness. This is why I wonder if I can offer an opportunity for them to live alongside me, or to learn through me.
Building Ancestor Altar
I waited to take one of my mandatory undergraduate courses called “Wood and Metal” until my last year. Once I knew what I wanted to make and how I could go about making the most out of the facilities available to me, that’s when I registered. I proposed the idea to make a large piece with the metal technician and professor, Donnie, and he enthusiastically approved of this goal. With his guidance and help, I completed the metal structure within two months. I welded the metal frame, acquired fire-resistant wood that I cut it to size, and assembled it. I then spray painted the metal and varnished the sides of the wood to a dark brown. Once the base was complete, I made a wooden shelf with a designated purpose for placing offerings. This shelf was a special project in itself; I wood-burned each nook and cranny with imagery that resembles my connection to my passed loved ones, as well as protection symbolism in the form of sigils and runes. I made ceramic wares for the offerings, including: a pair of goblets, a salt dish, a water dish, incense tray, candle holder, and an offering plate. These pieces were made from stoneware clay that I made from scratch, fired to cone 6. I used both ‘mishima’ and ‘sgraffito’ techniques for the surface decoration, and stamped “QUEER MAGICK” into the rim of some of the vessels.
Candelabra, “Just Be Here Now” (2022-23)
Cone 6 Stoneware, high fire temperature wire, wax candles
I wanted to create a centerpiece for my exhibition with my past loved ones and ancestors in mind. The intention for this roots from yearning to have conversations that revolve around gender, as well as queer pasts, presents, and futures. Although these discussions are difficult, and contain hardships, it is important for my kin that do not understand: to listen. To unlearn, to relearn. This piece functions as both an invitation for their presence, as well as an acknowledgement that we remain connected through collective consciousness although we exist on different planes of existence.
When thinking of actions that foster these connections; I think of ritual and ceremony. That is what guided me towards making a candelabra. The form itself is based on Norse mythology’s ‘Yggdrasil’, also known as “The World Tree”. Like most ‘Tree of Life’ representations across cultures; the Yggdrasil tree represents the afterlife, and connection between Earth and the spiritual realm. The base of the tree contains four dishes, each representing the four elements. Each one holds an element; air, water, earth, and fire, with their correlating directions. This creates a balance for the five candles above when they are lit. In between each of the dishes, there are wrapped objects that dangle from a gold chain; amethyst, flint, tooth, and calcite. Each object is wrapped with a rune bead. On either side of the trunk resides a portrait; one to represent myself, and one to represent the spirit of my past loved ones/ancestors. Whenever I need to, I close my eyes and repeat the mantra from episode 8 of Midnight Gospel: “just be here now”.
Interview with Mommabear, Treena Powers
Four large-scale prints on matte photo paper
Thank you, Leather binder, (2022)
Leather-burned on Mustang Leather, nylon thread, beeswax
I frequently think about how queer craft is an active coming-out-story. This piece originated from an assignment I had with Dr.Julie Hollenbach from an undergraduate course she taught called “Craft, Culture, and Identity”. Students were to craft self-portraits of themselves; it could take any form or medium as long as it was not a direct representation of their physical appearance. For this project I wanted to make something that could embrace my identity multidimensionally. I discovered that ‘protection’ was vital in defining myself; both physically and spiritually. The form of a binder came to mind when I thought of which elements in my life make me feel safe and whole amongst discomfort and difficulty. Wearing a binder is part of my daily routine and integral to who I am as a fat, trans non-binary human. Once I leaned into the concept of “a binder = a sentimental object", that is when imagery and symbolism fell into place. I chose to leather-burn personal imagery and universal queer symbolism to vocalize my identity. I’ve titled it “Thank You” as a way to pay homage to the role that binders have had in my life, and how they’ve been a form of protection until I am able to get top surgery.
Bone Casting and Curio Set, Table Display, (2023)
Bones, crystals, teeth, coins, gifts, lucky rabbit foot, bells, shells, runes, stones, pins, buttons, gifted items, handmade and found objects
