WhiteFeather
Français suit la version l'anglais//

EN
WhiteFeather is a Canadian artist/researcher, educator and writer currently based in Montreal.

WhiteFeather has been professionally engaged in a craft-based bioart practice for over 15 years via material investigations of the functional, artistic and technological potential of bodily matter. Her work has ranged widely, from the utilization of human hair in traditional textile techniques, to rogue taxidermy soft sculptures of found flesh and bone, to digital/ pop culture representations of the body absent in the technological world. Her current focus, spanning the last three years and encompassing four different international, laboratory-based artist research residencies is on biotextile experimentation and the creation of new, aestheticized vital specimens through hands-on tissue engineering. She also hacks/builds laboratory apparatuses as part of the materiality of the work.

WhiteFeather is a multiple-award winning scholar and professional arts grant recipient, with an MFA in Fibres and Material Practices from Concordia University. She has presented her work internationally in exhibitions, artist talks, conferences and residencies, and has been featured in international magazines, newspapers, hardcover art books and television spotlights. WhiteFeather also saw her work, Alma, go viral in 2012 with 5+ million hits in 3 days, and then again in 2015, both times via reddit front page.

WhiteFeather is laboratory technician and coordinator for the Speculative Life Lab and coordinator for the Textiles and Materiality Research Cluster, both situated within the Milieux Institute for Arts, Culture and Technology at Concordia University.

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FR
Montréalaise d’adoption, la Canadienne WhiteFeather Hunter a plusieurs cordes à son arc: artiste, chercheuse, enseignante, consultante et écrivaine. Depuis quinze ans, elle s’adonne professionnellement au bioart. Fondée sur l’artisanat, sa pratique s’appuie de fait sur l’analyse matérielle du potentiel artistique, fonctionnel et technologique des matières corporelles. Son œuvre se déploie tous azimuts : de l’utilisation de cheveux aux fins de techniques textiles traditionnelles au recours à une taxidermie à l’état brut dans la confection de sculptures en lambeaux de chair et fragments d’os trouvés, en passant par des représentations – inspirées par les cultures pop ou numérique – d’un corps absent de l’univers technologique. Depuis trois ans, elle se captive à l’expérimentation des biotextiles et à la conception de matériaux névralgiques. À cette fin, elle a effectué quatre résidences de recherche en laboratoire, durant lesquelles elle a notamment exercé l’ingénierie tissulaire.

Photo: Guy L'Heureux.