Weaving Reconciliation

Tracey-Mae Chambers receives Governor General’s Coronation Medal for her bold decolonial art

Renowned for her bold, crimson-crocheted art installations, Métis Nation of Ontario (MNO) citizen Tracey-Mae Chambers has been awarded the Governor General’s King Charles III Coronation Medal. The Toronto-based Métis artist received this honour at a special ceremony on September 20, 2024 in recognition of her commitment to reconciliation through her powerful, site-specific and decolonizing body of work.

Tracey-Mae’s installations garnered praise from Governor General Mary Simon for “establishing connections between Indigenous and non-Indigenous people through art that decolonizes public spaces.” Her work fosters dialogue around reconciliation, bridging the gap between Canada’s settler and Indigenous populations.

As a Métis artist driven by social justice, Tracey-Mae has focused on interrogating colonialism and the institutional spaces that have historically excluded and marginalized Indigenous voices. Today, she works alongside these institutions, with her art featuring prominently in museums, residential school sites, churches, and other public spaces.

Since 2021, Tracy-Mae has created installations at more than 170 sites across Canada as part of her #hopeandhealingcanada project. These striking red yarn pieces are aesthetically bold, but also durable and recyclable. Once dismantled, the materials are returned to Tracey-Mae to be reworked and repurposed at other sites to create a sustainable, ongoing dialogue on reconciliation.

“When I’m installing or disassembling a piece, people often ask questions because they see it as an aesthetically pleasing intervention in that space,” Chambers shares. “Though the setting may seem familiar, the installation prompts them to think about decolonization, leading them to attend events and engage in conversations about reconciliation— which is the whole point.”

Tracey-Mae emphasizes that her work is driven by a sense of justice and social responsibility. The artistic process is personally fulfilling and even cathartic for Tracy-Mae but just as importantly, it inspires others to share their stories.

“Museums and other public institutions are colonial constructs, often telling only one story— a white, male story. Through my installations, I aim to spark a difficult but necessary dialogue about decolonization, and the stories of displaced Indigenous peoples, newcomers, women, and marginalized communities,” she explains.

When working in sacred spaces, such as residential schools and churches, Chambers approaches the task with respect. She believes her work challenges colonialism without being confrontational.

“The installations aren’t aggressive, but they’re far from passive,” she says. “They represent the voices that were never heard, offering an approachable way to bridge the gap between settlers and Indigenous peoples.”

Tracey-Mae Chambers, a proud MNO citizen, participated in this summer’s MNO Annual General Assembly in Penetanguishene. She was featured in the Kooshkopayiw art exhibit, which showcased the work of dozens of Métis artists. She also led a weaving workshop for the MNO Youth Council at their Annual Leadership Conference, teaching enthusiastic youth participants the craft of six-inch round weaving.

Currently, Tracey-Mae is an Artist-in-Residence with the City of Guelph. She is also set to begin residencies at the Gladstone House Toronto and the Harbourfront Centre Toronto Textile Studio. At the latter, her latest body of work, THEY ARE LOVED, will focus on Canada’s toxic drug crisis, an issue of great personal significance after the tragic loss of her son Parker to addiction in 2023.

The MNO extends its congratulations to Tracey-Mae Chambers on receiving the Governor General’s King Charles III Coronation Medal, along with a heartfelt thank you for her ongoing contributions to the Métis community and reconciliation efforts. Marsii, Tracey-Mae!

More information about Tracey-Mae Chambers and her work can be found at www.traceymae.com