Kablusiak, also known as Jade Nasogaluak Carpenter, is an emerging Inuvialuk artist and curator based in Calgary. Born in Yellowknife and raised in Edmonton, they received a diploma in Fine Art from Grant MacEwan University in 2013 and completed their Bachelor in Fine Arts from the Drawing Department at the Alberta College of Art and Design (ACAD) in 2016 . They recently completed the Indigenous Curatorial Research Practicum at the Banff Centre for Arts and Creativity, were a previous member of Ociciwan Contemporary Art Collective and are also part of the inaugural all-Inuit curatorial team for the Winnipeg Art Gallery's Inuit Art Centre, which is slated to open in 2020.
Kablusiak uses art and humour as a coping mechanism to subtly address diaspora, and to openly address mental illness; the lighthearted nature of their practice extends gestures of empathy and solidarity. These interests invite a reconsideration of the perceptions of contemporary indigeneity and counter the stigma surrounding mental health.
Since graduating, Kablusiak has been heavily involved in Calgary's art scene; they have made work for Femme Wave (The Garden, 2016), Sled Island (Group, 2017), Contemporary Calgary (Oki Y'all, 2017) and are a board member of Stride Gallery since 2016. Recent awards include the Alberta Foundation for the Arts Young Artist Prize and the inaugural Primary Colours/Couleurs primaires Emerging Artist Award in 2018 . Their work has appeared in the Summer 2017, Winter 2017 and Winter 2018 issues of Inuit Art Quarterly. They are represented by Jarvis Hall Gallery in Calgary, AB.
2018: Primary Colours/Couleurs primaires Emerging Artist Award
2017: Indigenous Curatorial Practicum, Banff Centre for Arts and Creativity
2016: Bachelor in Fine Arts, Alberta College of Art and Design.
2013: Diploma in Fine Art, Grant MacEwan University.
1. Britt Gallpen, “Profile: Jade Nasogaluak Carpenter,” Inuit Art Quarterly 30, no.4 (2018): 20.
2. IAQ, “Jade Nasogaluak Carpenter Receives Inaugural Emerging Artist Award,” Inuit Art Quarterly 31, no.3 (2018): 72.