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Beneath the rusted lattice of the old rail bridges near the Forks, time bends—steel bones whispering histories into the wind, footsteps echoing between memory and motion. The river moves slow and thick below, like thought unspoken, while overhead the iron arches cradle sky and silence.

Bridges: The Forks

There’s something sacred about walking through The Forks in Winnipeg, especially when winter hasn’t quite let go.

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Belonging tastes like a memory you never made, folded into bread and handed to you warm. It sits beside you, unspoken, like steam rising from a chipped mug. Between bites, there’s a silence that doesn’t ache—only nods. Food doesn’t ask. It remembers. It cradles your absence until you return. The salt on your lip might be from a tear or a fry; it doesn’t matter. The plate listens. The spoon forgets your name but knows your hunger. In the clatter and hush of diners, in the half-light of closing time, there is a choir of ghosts singing lullabies in sauce. You do not need to be known. You only need to chew.

Conversations in a House of Ketchup

The real galleries aren’t lit by halogen or sponsored by institutions; they emerge in the in-between: cafés at closing time, back booths where someone is sketching the same idea again, and again, waiting for it to say something new.

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They gather beneath giants—paint, steel, and silence pressing down like weather. Here, they are not exhibits but echoes, resisting the stillness with their own weight of being. This is not interruption. This is grounding. A reminder that presence is also a kind of art.

Under the Gaze of Giants

In a quiet alcove beneath towering canvases, a small group of youth sit cross-legged, whispering between museum murmurs. Their presence, casual and at ease, contrasts the grandiosity of the gallery.

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Each fracture finds its place. Each piece, once discarded, now holds position in something greater. This mosaic doesn’t erase what’s broken—it listens to it, arranges it, builds a compass out of the scattered. To stand at its center is to feel the world pulling gently toward wholeness.

Centering the Fragments

A compass mosaic of shattered pieces, reassembled with intention and grace. Laid into the stone floor like a secret map, the mosaic catches the light

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Inside a corridor built for function, time folds. Artists unfurl memory onto tables, turning concrete into ceremony. The space hums—not with commerce, but with return. Every glance, a stitch. Every exchange, a quiet reclamation. What was paused begins again, not as before, but more deeply rooted.

Art on Campus

Inside a corridor built for function, time folds. Artists unfurl memory onto tables, turning concrete into ceremony.

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We come together at Qaumajuq not as strangers, but as echoes—called into the same light. The space holds us gently, like breath caught in a moment of knowing. Each step on the stone floor feels like a continuation, not a beginning. Here, collaboration feels like remembering. Voices blend, not to rise above, but to ripple outward—soft, certain. We build together in fragments and rhythms, trusting the silence as much as the sound.

Qaumajuq. The Winnipeg Art Gallery

This photo from the Winnipeg Art Gallery and Qaumajuq during ‘Auviqsaqtut,’ is still growing, now over 255,000 views. It wasn’t just a snapshot from a conference. It was a glimpse into a space that’s become a second home.

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