Quill Christie is an Anishinaabekwe arts programmer and self-taught artist currently residing in her hometown of Toronto. Her passion involves creating artistic programming for Indigenous youth from a radically relational praxis that allows youth to reclaim relationships to self, homeland, ancestors and community. She currently works within the public programming and curatorial departments at the Art Gallery of Ontario where she is developing and facilitating programming for native youth. Quill is also a Masters Candidate in the Indigenous Governance Program and sits on the board of directors for Native Women in the Arts. She is a research assistant for the Decolonizing Water Initiative and will be running a collaborative arts-based program for Indigenous youth that centers on explorations of water governance in urban Toronto and wild ricing practices in Treaty 3. Quill is dedicated to the empowerment of Indigenous youth through artistic practice and her latest work will be featured in a forthcoming publication by Native Realities Press.
My work centers on an Anishinaabekwe conception of art-making that focuses on the processual building, strengthening and reclamation of all my relations through artistic practice. When I paint, I enter into a conversation with my ancestors and those relations that exist beyond the material plane, making my practice an explicitly spiritual one that allows me to communicate knowledge I cannot otherwise express. Inherently, my work is about Anishinaabe futurisms and how our relationships to our ancestors must inform and shape our trajectories to the decolonial future, particularly in the context of displacement and urban Indigenous realities. As well as exploring my own spiritual landscape, my practice involves curating and facilitating collaborative Indigenous youth-based projects embodied through radical relationality. In this work we enact accountability to one another through our collective artistic practice while also exploring and strengthening the relationships settler colonialism seeks to destroy. Although I have explored various media and materials, I am by and large an acrylic painter. I stand on the shoulders of Anishinaabe artists who have always practiced art-making as an enactment of governance both over the self and extending outward to the nation. I stand lovingly on the shoulders of my own family of Anishinaabe artists who, within the violence of colonialism, have always used art as a tool for storytelling, resistance, survival and most importantly, for creatively envisioning Anishinaabe futurities.