Isabel Bader Centre for the Performing Arts

Queen's University Queen's University
Search Type

Artist Glenn is an Indigiqueer filmmaker and multidisciplinary artist of mixed Inuit and settler ancestry

Fri, Sep 23, 202210:00 am
Mon, Sep 26, 202210:00 am
Tue, Sep 27, 202210:00 am
Wed, Sep 28, 202210:00 am
Thu, Sep 29, 202210:00 am
Mon, Oct 3, 202210:00 am
Doors open
10:00-4:00PM (M-F)
Art and Media Lab
Art and Media Lab

Animating the Indigiqueer Archive

Artist Glenn Gear describes himself as “an Indigiqueer filmmaker and multidisciplinary artist of mixed Inuit and settler ancestry.” Gear has made 17 films, over 20 installations and intermedia works, 5 NFB collaborations and has been in 20 exhibitions. His CV also speaks to a vibrant public life as a speaker, teacher and workshop facilitator. 


Gear grew up in Corner Brook, Newfoundland and currently lives in Montreal, Quebec. As he has written of his relations, “Much of my work is rooted in my cultural connection to the land and people of Nunatsiavut, even though I was not born on, nor have I ever lived in the homeland region.”  His work offers a timely conversation about belonging and Indigenous relationality. Gear's work often explores his ancestral ties to Nunatsiavut, creating alternative forms of storytelling through animation, archives, collage, installation, painting, and sound. His work also navigates the complex relationships between people, animals, and land, imbuing these shared spaces with humour, mystery, and hope. Long-listed for the prestigious 2021 Sobey Art Awards, Gear works primarily in animation, but also draws on video, drawing, collage and installation, often employing experimental techniques in both digital and analog forms, which he utilizes to create a dreamlike quality in his shorts. Gear’s 2016 animated short Kablunât: Legend of the Origin of the White People (2016) draws from a Nunatsiavut legend recorded by a Moravian Missionary. Gear made use of archival photographs collected over nine years to reinterpret a legend for a contemporary Inuit audience while framing the story as a reclamation from colonial retellings. At a 2016 residency at the Banff Centre for Arts and Creativity in Alberta, Gear expanded his practice to include installations. He created a piece comprised of two opposing murals, representing the city and wilderness, that met on a third wall where his own footage from Nunatsiavut was projected. 


His most recent work pulls these diverse practices together and is gathering much acclaim. He is a commissioned artist in INUA, the inaugural exhibition of Qaumajuq, the Inuit Art Gallery in Winnipeg. Gear’s work was projected this winter (2021) on the two connected WAG-Qaumajuq buildings as part of Qaumajuq365, the Inuit art centre’s inaugural year.  Kimutsiijut (dog team) follows a caravan of “ghost dogs” running wild across the frame of the animation. These dogs mark a traditional way of life for Inuit who have depended on dog teams for access to the land, hunting, and travelling. The ghost dogs also recall the brutal dog slaughters that occurred across the Canadian North from the 1950s-1970s, meant to move Inuit off the land in an effort to ‘civilize’ them. Gear’s ghost dogs return in this work as resilient spirits to tell their story, as they run towards a place that promises to be more empathetic, inclusive, and just. Gear also created a large-scale immersive experience for Qaumajuq's opening exhibit, INUA. The pod (seen above) is painted with a scene from a Nunatsiavut myth about how the northern lights were created.