Monday, March 16, 2015

Proposal sketch: Mississippi Valley Textile Museum.

This sketch doesn't do the work justice but it represents the ideas that went into a 15 page pdf proposal for the Mississippi Valley Textile Museum: If yes, I get a three month exhibit in 2019, making a land/water based installation that involves human-powered irrigation using water from the Mississippi river and sheep pelts grown of rye (fleece). In memory of the Rosamond Woollen Mill, and the presence and power of the water of the Mississippi Valley (Almonte, On.). Fingers crossed. The image below will be a topographical map made of pencil/watercolour on paper. The trickle down drips from above will create a moving map that changes based on how little/much visitors water it. It's a bit out there...but we shall see:)

Saturday, March 14, 2015


“We wait, starving for a moment of high magic to inspire us, but life is a banquet of common enchantment waiting for our alchemist’s eye to notice” - Jacob Nordby

Tuesday, March 10, 2015

7th Annual Camp Art & Nature Scholarships Available | Bourses d'études à la Ferme 100 Miles

Registration 2015 is open for our 7th Annual Summer art and nature themed camp at 100 Mile Farm. AND....Scholarship opportunities are available! This summer, Camp Art Nature will be offering three scholarships to any campers unable to attend due to lack of funds. This is available to any little person who would benefit from our program, but who may be limited by financial constraints. We want for our programming to remain accessible for those who most need it. If this is you, or a child you know, please send us a letter explaining why the camp is a good fit for them by April 15 to We will be getting back to everyone by mid-May with our response.

Learn about our camp at:

July 6-10 | Superheroes, Fairies & Forts - ‘Best Of’ 6 years of camp.
July 20-24 | Exciting Action Art: Expressive Drawing & Painting.

Il y aura de bourses d'études disponibles! Cet été, le Camp Art Nature offrira trois bourses à des campeurs qui ne peuvent assister en raison de manque de fonds. Ceci est à la disposition de tous ceux qui pourraient bénéficier de notre programme, mais qui sont limités par des contraintes financières. Nous aimerions que notre programmation demeure accessible à tous et toutes. Envoyez-nous une lettre avant le 15 avril au Nous répondrons avant la mi-mai, avec nos réponses.

Plus d'infos sur notre camp au:

6-10 juillet | Fées, super-héros & Forts: Le meilleur de 6 étés de Camp
20-24 juillet | L’art action : dessin & peinture expressif.

Spring Teaching Placement

Final stretch of Bachelor of Education training is full throttle, but the word of relief I got today was that my Spring teaching placement will be at MacSkimming Outdoor Education Centre from March 23-April 24. I will be in the woods. For a month. With little people. Doing ecological education. MacSkimming is part of the Ottawa-Carleton District School Board = high proportion of city kids in the public school system. Their programs touch over 20,000 youth in the Ottawa area every year. I am overjoyed at this opportunity to learn from some great professional educators in the field of earth science and ecology.

Friday, February 20, 2015

Save the Date! Drawn & Quarterly, Montréal

Drawn & Quarterly, Montréal
Crafting a 2 night talk & creative workshop on land based art intervention and wild things. Timed for planting on the Strawberry Moon. Stay tuned...

Le 2 + 3 juin prochain j'offre un atelier créatif sur les oeuvres et interventions environnementales in-situ...pour le début de la saison des semailles, en collaboration avec la pleine lune. À suivre!

Wednesday, February 11, 2015

Amorphous beast

A website to archive my projects is on the way... domain name sitting empty, re-directing to the old blog for...something like 7 years. The amorphous beast is being tackled as we speak. Stay tuned!

Monday, February 9, 2015

News - Culture in the Schools // Culture dans les écoles

Just got a YES for a 'Culture in the Schools' grant this Spring. Three full days of creation w/ a group of teens devoted to idea-hatching, experimental drawing (transferred to local clay) and in-situ installation at D'Arcy/Symmes High school, in Aylmer, Qc.

I continue to welcome any primary/secondary teachers for whom I could offer workshops in the realm of visual arts with an accent on environmental art. It will be the Ministry of Culture who will cover the cost for each visit. I am grateful for this opportunity to be able to access the school system with my creative workshops.

Artists in the Schools Program


Je viens de recevoir un OUI pour une subvention de la part du programme 'Culture dans les écoles' au printemps. Trois jours de création, avec ados, dévoués au remue-méninges, le dessin expérimental (transféré à l'argile), et l'installation in-situ à l'école secondaire D'Arcy/Symmes à Aylmer, Qc. Déjà très hâte:)
Je suis toujours à la recherche des enseignants à l'école primaire-secondaire pour qui je donnerai des ateliers en art visuels avec un accent sur l'art environnementale. Donc c'est la Ministère de Culture que payerait la facture à chaque fois. J'ai bien hâte de pouvoir accèder le système scolaire avec mes ateliers artistiques.

Le programme la culture à l'école

Thursday, January 8, 2015

Soil: Source of Life | Le sol: source de vie | Conference, January 23, 2015.

Honoured to be speaking at this Montreal event - an evening of exploration and dialogue about the power and importance of soil in our world. I am looking forward to seeing faces both old and new...

Ideas of home have been lingering for the past hour as I chew some thoughts for the dialogue I'll be facilitating next Friday:

What does it mean to call a place home? How do we create community? When can we say that we truly belong? Arriving home, describing it, naming, uncovering and honouring its complexity is messy, hard work. Homeplace, land, land stewardship, local and global environmentalism, food justice and the small and daily ways in which we maintain a relationship with our bioregions may act as a compass to our culture of place.

“Cultural histories speak the language of the land. They mark the outlines of the human/land consciousness.” Enrique Salmon

On Friday, January 23, join us at Concordia University's DB Clarke theatre for an evening of exploration and discussion about soil, the source of life. Six powerful individuals who work intimately, physically or metaphorically with soil will present their thoughts, hopes, concerns and council on this precious resource, leading to a dialogue with the audience about what actions we might take individually and collectively to protect and restore this precious resource. Presented as a launch event for 2015, the International Year of Soils. For tickets and more information, visit Presented in English and French with simultaneous translation.

Vendredi 23 janvier, rejoignez-nous au théâtre DB Clarke de l'Université Concordia pour une soirée d'exploration et de discussion sur le sol, la source de la vie. Six personnes influentes qui travaillent étroitement avec le sol partageront leurs histoires, leurs rêves et leurs désirs pour une Terre plus saine et plus abondante, menant à une discussion de groupe, avec les membres de l’auditoire. Présenté comme un événement de lancement de l’Année internationale de sol (2015). Pour obtenir des billets et de plus amples renseignements, visitez Présenté en anglais et en français avec traduction simultanée.

Saturday, December 27, 2014

DIY Publications in Montreal

Montreal in the morning for consignment catch up. DIY publications on land art/guerilla gardens and a sprout growing guide will be replenishing some shelves around town.

Livraison de 'zines et publications indépendent sur le land art/les jardins clandestins, ainsi qu'une guide sur la culture des pousses vont etre de retour à travers la ville aux endroits suivants : Drawn & Quarterly; l'Insoumise - anarchist bookstore; Centre Clark; Monastiraki; Librairie Formats; Concordia coop book store; Cafe Atomic à Hochelaga.

Sprout Guide
Guide sur la culture des pousses 
Land Art & Guerilla Gardens/Jardins clandestins 


'Life is like a river...some parts are calm and pristine, sometimes there are rapids. Sometimes there are dams. Lots of tributaries. And the river she flows.' - Lisa Brumby.

Ink: Patchy Oel (hand-poked)
River: Gatineau / Te-nagàdino-zìbi
Segment: From the Hydro Dam in Chelsea to Farrellton (La Pêche) Qc.

Photo: L.Michaud

photo: P.Weldon

Social Horticulture

An interview I did with journalist Naïma Hassert for the Fall issue of "Quatre-Temps", in la Revue des Amis du Jardin Botanique de Montréal. The theme is social horticulture. La revue est disponible au:

Friday, October 24, 2014

Textiles Get Tactical at Gallery 101 - Canadian Art

Our show at Gallery 101 made it into Canadian Art. The experiment was worth it and I learned a lot. Thanks to E. Falvey for this summary of "Material Witness: Art, Activism and Fibre":

Textiles Get TacticalCanadian Art Review of Gallery 101 Show.

Under Our HighwaysSuper 8mm film footage and Project Statement.*

Photos: David Barbour, Gallery 101's "Material Witness: Art, Activism and Fibre": Emily Rose Michaud's installation Under Our Highways, Rivers Flow*, 2014.

*The installation "How We Gather, PART III: Under Our Highways, Rivers Flow" was created with an artistic development and production residency made possible through the Dennis Tourbin Fund for Emerging Artists. The Dennis Tourbin Fund for Emerging Artists at the Community Foundation of Ottawa, is a permanent tribute to the greatly respected late Ottawa artist and his legacy. The fund seeks to encourage emerging artists to carry out creative works of art that cross disciplines and traditional boundaries. It also seeks to promote the presentation of art outside of the gallery walls into the public arena, reaching new audiences and engaging the community.

Wednesday, September 24, 2014

Living Tapestry Workshop & Artist Talk @ G101

Living Tapestry Workshop & Artist Talk with Emily Rose Michaud
Wednesday, October 1, 2014, 7-9pm.
Material Witness: Art, Activism, and Fibre |

Join us for an artist talk, followed by workshop on October 1! (materials provided)

Photo credit: Emily Rose Michaud, process shot from the installation How We Gather, Part I: Shelter, 2012.

This unique workshop will encourage participants to learn the basics of germination while making and experiencing the magic of living embroidery. To make a living tapestry, each participant is offered burlap, a variety of seeds (wheat, teff, red clover. etc.), mineral supplements, and a pizza box to bring their work home.

Please rsvp so we can prepare: | 613-230-2799

Photo credit: Emily Rose Michaud, process shot from the installation Under Our Highways, Rivers Flow, 2014.

Emily Rose Michaud is an interdisciplinary artist/educator working at the crossroads of community organization, ecology and civic participation. She holds a BFA from Concordia University (Montreal) and is pursuing a Bachelor of Education in Visual Arts at University of Ottawa. Her body of work encompasses ephemeral media: Land Art, installation, drawing, writing, performance, and intervention. Michaud co-founded Les Amis du Champ des Possibles, a citizen-run non-profit that demonstrates and advocates for the cultural, ecological, and social importance of wild urban spaces. Her ongoing encounters in art and nature emanate from the bio-regions of Outaouais and Montréal, where she engages with land as living entity and collaborates with architects, botanists, politicians, and children.

Special thanks to The Community Foundation of Ottawa (Dennis Tourbin Fund for Emerging Artists); The Independent Filmmakers Cooperative of Ottawa, the Peoples Social Forum, and The National Gallery of Canada.

Emily Rose Michaud, de l'installation/performance, Living Armour (treizième journée), 2008. Crédit photo : Daniel Séguin (

Monday, September 8, 2014

Artist Residency at Star and Snake: Remembering Ana Mendieta

Artist Residency, Star and Snake: Remembering Ana Mendieta.
Center Harbor, New Hampshire, August 24-30 2014.
View the photo collection, here.

Photo source: Star & Snake

I came to this crazy beautiful place on Monday and I don't have many words to describe it. Enchanting is one. The building itself is an old Catholic church, built at the turn of the century in Center Harbor, New Hampshire, which is now dubbed Star & SnakeNatan Alexander and K Lenore Siner birthed Star & Snake from a combined dream to create an inspirational space for creation, study and celebration. As partners and artists committed to realizing beauty and excellence in all that they do, Natan and K graciously welcomed me to enjoy and co-create Star and Snake with them in a week-long artist residency, which I arrived to with some of the following motives in mind....

Photo source: Star & Snake


To make body art; process art; earth art and earth works;

To pay tribute to the narrative and poetry of Ana Mendieta. To find ways that re-interpret her work in relation to the site, space and land I find myself on;

To make visible the earth, ephemeral phenomena and conditions;

To match the frequency of my body with the earth element. To approach my work from a place that is slow, present and embodied;

To make works that are impermanent, to communicate in as close a medium to life as possible.

Why Ana Mendieta?

"My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant, from plant to galaxy. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious thoughts that animate the world" (Mendieta, A Selection of Statements and Notes).

Ana Mendieta's land and body(scapes) have haunted me for years. Rooted in both the landscape and the female body, her work seems to set in motion a kind of transcendent mythos that speaks of new ways to bridge the gap between the human and the non-human world. Her summer forays to the back country of Mexico, equipped with a backpack, shovel and camera, led her to create her best known "Silueta" series (1973-77). In this series, her figure is often traced or drawn on the landscape in a myriad of ways: dug in sand; carved from stone; shaped with flowers, blood or fire. All are potent traces of her presence, transformed by the changing phenomena of her environment: ocean tide, moving sunlight, ignited gunpowder, etc. Her work is significant to me because it challenges the conventional and widely accepted norms of intellectually driven, sensually disconnected artistic processes, so prevalent in today's contemporary, institutionalized art scene. I was inspired to carve some time out of my life for new creation and play, while paying tribute to Mendieta's unique work which has informed and guided my own ephemeral projects over the years.

Mendieta (1948-1985), whose tragic death from a window in Manhattan terminated her career at its pinnacle, was a pioneering figure.  Her feminist ambitions seeded in her small-scale earthworks subverted the monumental gestures of the male-dominated Land Art scene of the 70s. She was critical, intuitive, adventurous. She cross-pollinated cultures, including her Caribbean/North American heritage and solidified her work as an artist and woman searching for sense of place in an uprooted world. Her relationship to land, site-specificity and working beyond the gallery walls forged new openings within the contemporary art world of her time.

The photos I took that week have been archived here.

Day 1
Beach excursion, blue pigment, water movements, passage of time.

This was a day of settling in to acclimatize to the environment. I visited an exquisite local waterfall (Falls of Song in Moultonborough) and spent some time on the shores Lake Winnipesaukee (the largest lake in New Hampshire). The waves coming in to the beach felt marine. They washed away the blue pigment I had inserted into the silhouette of my body carved into the sand. I have always loved Mendieta's blood red version of this piece and wanted to see how the colour blue would change the meaning of the work.

Day 2
Embryonic positions in ash, grass and pebble with body, pigment and water.

Years ago, before I was aware of Mendieta's work, I created a series of body prints made from earth, ash, spices and herbs mixed with oil. I made traces of my body in an embryonic position on paper and then burlap, upon which I would grow grass. Upon reflection of Mendieta's silhouettes, I decided to reference my own version of the silhouette I had created years before to avoid what could become cheesy appropriation. I found ashes from the fire pit in a garden bed and lay down in them to create a reverse effect where the ashes made their imprint on me.

Day 3
Body dig, cool earth, mirror/legs reflection.

One of my favourite Mendieta images is the leg mirror one, which I find both haunting and beautiful. I needed to do it myself to see how it felt and what it could become. I did an adaptation of hers, with the only difference being the dug hole for my body in the ground, so that the height of my legs was at ground level. I sat in this tight but comforting nook for the photo shoot. There is a strong memory alive in my legs of the cool earth to this day.

Day 4
Dead wild rose branches, bittersweet root installation against sky, hummingbird visit.

On Thursday morning, I walked around the church and look at what was growing. I immediately got to pruning some dead and dried wild rose branches. After about fifteen minutes, a large pile was at my side and my hands were full of tiny thorns. I brought the pile back to the church and the creation (above) came together at the front entrance within the day. Something of a nest beneath the cathedral door shape with dead brambles made raw and essential against the blue sky. In the centre of the Rose branches, is some Bittersweet root, a lovely orange, fragile network of threads that seemed to fit, which were collected from a pile of previously unearthed weeds. Halfway through the branch construction, a hummingbird flew in and hovered over me and this strange freely suspended nest. The tiny bird observed the gathered, hanging sticks for a good six seconds, and then zipped off. I was touched. Priceless.

Day 5
Fire silhouette, white sheet shroud, body traces, white clay powder, grass cuttings, lighter fluid.

On Friday morning, I referred to some notes scribbled the day earlier and got to work. Some thoughts emerged on actions I might take, including materials I might work with: a shrouded body in a white sheet; a string upon the ground; a line tracing the outline of my body. Over the course of the morning, a series of photos emerged of my body on the land in various contortions. An embryonic position paired with a long profile were the two I chose to work with. The long profile of the body (lying down and standing up) was one that carried on into the afternoon, but instead of an absent trace, I gave it a form and filled it with a pile of flammable materials. Grass cuttings and lighter fluid were readily available, and so I worked with that. My favourite moment that day was the burn after dark - it felt like a perfect closing moment and release to my week. The black trace on the ground the next day was beautiful as well.

View the photo archives here.

Sunday, August 17, 2014

Events: August 21-23, 2014.

Material Witness: Art, Activism & Fibre
Friday, August 22, 7pm—10pm. 
Exhibit runs until October 4.

Barry Ace, Karina Bergmans, Emily Rose Michaud, Bozica Radjenovic, & Mona Sharma. Curator: Laura Margita 
Barry Ace, "Nigik Makizinan - Otter Moccasins" (2014), Found leather boots, otter pelts, velvet, capacitors, resistors, diodes, light emitting diodes (LED), deer hide, synthetic porcupine hair, cotton thread, brass hawk bells, felt.

Textile is a powerful and versatile medium put to use throughout human herstory for travel, clothing, agriculture, architecture, historical documentation, expression of identity and experimental art. Barry Ace, Karina Bergmans, Emily Rose Michaud, Bozica Radjenovic and Mona Sharma are each occupying creative termini at the edges of fibre art. Each artist has followed the path of their artistic practice to an expression that is as logical to the heart as to the formal and aesthetic conversation of professional contemporary art practices.

The installation Ms. Michaud is presenting "How We Gather, PART III: Under Our Highways, Rivers Flow" was created with an artistic development and production residency made possible through the Dennis Tourbin Fund for Emerging Artists. The Dennis Tourbin Fund for Emerging Artists at the Community Foundation of Ottawa, is a permanent tribute to the greatly respected late Ottawa artist and his legacy. The fund seeks to encourage emerging artists to carry out creative works of art that cross disciplines and traditional boundaries. It also seeks to promote the presentation of art outside of the gallery walls into the public arena, reaching new audiences and engaging the community

Gallery 101 - 51B Young Street, Ottawa, ON, K1S 3H6.

Emily Rose Michaud, "How We Gather, PART III: Under Our Highways, Rivers Flow", 2014. Ephemeral installation using burlap, rye and wheat, Super 8 mm film projection, soundscape. 

Taste The $ource (while supplies last) 
A series of public performances celebrating water

Thursday Aug. 21 @ 2PM, Sparks Street - exact location TBA

Friday Aug 22 @ 8PM Gallery 101, 51 B Young Street

Saturday Aug 23, 8:30AM @ University of Ottawa, ARTS Hall 70 Laurier Street East, Room 033

A freshwater mermaid offers a taste of her treasured collection of often-forgotten rivers and lakes from various regions of Quebec. Some water samples are out of stock, some taste like blueberry roots and rocks – a rare experience as the commodification of water accelerates and sources of clean water become harder to find. These performances address water at first from an emotional and gustatory place, and then allow the audience to form their own response to the broader social and political issues found within. The water creature coaxes us to drink what seem to be raw waters from nearby sources, challenging us to acknowledge and adapt to the waters we live with.

Emily Rose Michaud, "Taste the $ource (while supplies last), 2014. Performance using water, various labelled jars, mermaid costume, table, signs.

Art as Resistance
Saturday, August 23, 1-3pm

Join us for a panel discussion on socially engaged art, resistance, and revolution.

Scott Benesiinaabandan (Montreal)
Adam Brown (Ottawa)
Amira Hanafi (Cairo)
Emily Rose Michaud (Montréal/Outaouais)
Moderated by: Leah Snyder (Ottawa/Toronto)

Beyond illustrating the issues at stake, can aesthetic forms themselves offer models for collaboration and movement building?
How do artists’ practices shift in response to revolution? Is a revolution a work of art?
What decolonizing strategies can we learn from artists performing and inserting their work in public space?
What role does spectacle play in creating an open space for dissent?

This is a free event. Everyone is welcome.

The Ottawa Art Gallery - 2 Daly Avenue, Ottawa K1N 6E2. 

Water Assembly
People's Social Forum 2014
Saturday, August 23, 8am—12noon

Water is both a universal right and a powerful mediator in the relationship between humans and the environment and between Indigenous Peoples and Canada.

Chief Roger William (Tsilhqot’in Nation) and Bob Watts (Executive Director, Canada’s Truth and Reconciliation Commission) discuss the significance of the recent Supreme Court ruling on Aboriginal land title within the context of international human rights law, legislation and treaty rights and responsibilities.

Participants are encouraged to bring a sample of their community water supply to guide and inspire the creation of a personal and collective framework for an equitable, just and sustainable water resources management plan and Consensus Statement during the Assembly.

8am - Water Ceremony
8:30am - Art Performance: Taste The $ource, Emily Rose Michaud
9:00 - 12:00pm - Water Assembly
12:00 - 12:30pm - Networking opportunity

Event is free (Donations welcome). Snacks, coffee and tea will be served so bring your own mug!

Ottawa University, Arts Hall, 70 Laurier Street East, Room 033.