‘Making Sense of Decolonization’ facilitates community conversation around decolonization through innovative artmaking, within an Indigenous context.
Carleigh Candice Mignonne Milburn, a PhD Candidate in Cultural Studies and Interdisciplinary Studies, is leading a research-creation project titled ‘Making Sense of Decolonization: Through Artificial Intelligence, Digital, and Conventional Art Creation.’ This project amplifies marginalized voices, discussing how innovative art forms in Indigenous contexts can facilitate understandings of decolonization.
Milburn’s exhibit reflects trans-generational perspectives, including pieces from her parents and other contributors. The multidisciplinary exhibition displays digital pieces from workshop participants and open submissions, a beaded sculpture, and AI-generated visuals that create images based on survey data. Milburn’s work, which has been showcased in galleries around Kingston, is currently featured at Modern Fuel Artist-Run Centre and will be installed at Union Gallery this fall.
“In the community sculpture, each bead is representative of various components of the individual’s life who’s making it, and their commitment to making sense of decolonization,” Milburn said in an interview with The Journal. “This experience is an opportunity to learn about Indigenous ways of knowing. They’re [workshop participants] exploring the potential of AI in art, they’re re-examining Canada’s histories through the lens of Indigenous art.”
A Métis artist and educator, Milburn integrates her identity into her work. She teaches at the Limestone District School Board and the Kingston School of Art. She also founded the non-for-profit organization Modern Métis Woman, which empowers Métis identifying women and provides an annual scholarship for those attending university in Canada.
The seeks to spark conversations on decolonization through artistic expression. It asks the question: How might innovative data art collection practices in Indigenous contexts facilitate understanding of decolonization and promote meaningful relationships toward reconciliation? And, to what extent can AI in art be considered decolonial?
“This workshop offers a meaningful chance to engage with these critical conversations and contribute to more of a collective vision of what decolonization can look like,” she said.
At the heart of this project is decolonization, but Milburn acknowledges it can be an intimidating word, despite the term’s prevalence in the academic and art world.
“Decolonization for me, particularly within the arts, involves the process of ing, recognizing, and taking steps toward a future of harmony where no one is left behind. […] Decolonization acknowledges these unfair actions while maintaining the truth and respecting the past,” Milburn said.
The presence of connection and community has been central to her project, making the process ‘deeply personal and communal.’ Originally planned as a single-gallery exhibition, the project has expanded, being shown at the Kingston School of Art, the Tett Centre for Creativity and Learning, Modern Fuel Artist-Run Centre, and soon, the Union Gallery.
Milburn has enjoyed being able to meet and collaborate with a diverse range of individuals through the project’s growing scope, enriching her understanding of decolonization in its different forms.
She hopes audiences will continue to interact with her work as it moves onto its next installation. “The most uplifting moments came from those who were eager to learn, create and connect on a deeper level,” Milburn said.
Milburn’s installation at Union Gallery will run from October to December, and she encourages participants to get involved. Attendees can participate by completing the online survey, or attending workshops where they can contribute by creating digital art or a commitment string to add to the community sculpture.
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