Solo Exhibitions:
2025. TBD. Durham Art Gallery.
2025. entendre. ASpace Gallery
2022. What does good work look like? with Clayton Morrissette. Gallery 44, Toronto.
2022. translations. daphne art centre, Montreal.
Group Exhibitions:
2023. one and the same in the exhibition More Than Human, curated by Jane Tingley, Onsite Gallery, OCAD University.
2022. Where they begin I continue in the exhibition FLOW, curated by Jesse King, ASpace Gallery/imagineNATIVE Film + Media Art Festival.
2022. poplar/poplar and study for knowing in the exhibition Lii Zoot Tayr (Other Worlds), curated by Jessie Short and Amy Malbeuf, Art Gallery of York University.
2022. where they begin I continue, in the exhibition FLOW, imagineNATIVE Indigenous Film and Media Arts Festival, Toronto.
2021. poplar/poplar and study for knowing in the exhibition Lii Zoot Tayr (Other Worlds), curated by Jessie Short and Amy Malbeuf, Agnes Etherington Gallery, Kingston.
2016. one and the same, in the exhibition wnoondwaamin [we hear them], curated by Lisa Myers, Trinity Square Video.
2016. score for bottom of a lake [translation], in the exhibition Noodaagun Beacons, curated by Jason Ryle, NAISA: Cross Waves + Trinity Square Video, Toronto
2015. score for bottom of a lake [translation] and manuscript paper - grid I-III, in the exhibition Owning with the Gaze, curated by Cheryl L’Hirondelle, Gallery 101, Ottawa.
2014. score for bottom of a lake [translation] I-III and sketch for score for bottom of a lake I-XV, in the exhibition 2014 Rabbit Island Residency Exhibition, curated by Melissa Matuscak, DeVos Museum, Marquette, MI, USA.
2013. birds and noise, in the exhibition Sidewalk Screenings, curated by Vanessa Dion Fletcher, Golboo Amani and Mohammad Rezaei, Whippersnapper Gallery, Toronto.
2013. Keewatin is not equal to Keewatin and Red Lake is not equal to Red Lake, in the exhibition North of Here, curated by Patrick MacCauley, Harbourfront Centre, Toronto.
2012. stores of place, location, and knowledge I-III, in the exhibition Lake Effect: Rurality and Ecology in the Great Lakes, curated by Dylan Miner, SCENE Metrospace, East Lansing, MI, USA.
2012. Toronto-Berlin: 1982-2012, curated by Rae Johnson and Henrjeta Mece, Zweigstelle Berlin, Berlin.
2011. solve, for some, in the exhibition Best Before, curated by Lisa Myers, Graduate Gallery, Toronto.
2010. Urban Shaman Retrospective, curated by Amber-Dawn Bear Robe, Urban Shaman Gallery, Winnipeg.

About

Suzanne Morrissette, PhD (she/her) is a Red River Métis artist, curator, and scholar who is currently based out of Toronto. She is currently Assistant Professor at OCAD University where she teaches in the Indigenous Visual Culture BFA program, and in the Criticism and Curatorial Practices MFA program. As an arts-based researcher Suzanne’s interests include: reciprocal and gift economies, equity and diversity, as well as culturally informed governance models in the arts. As an artist she works across media to produce artworks that reflect upon metaphors for the knowledege. She holds an MFA in Criticism and Curatorial Practices from OCAD University and a PhD in Social and Political Thought from York University.

Recent artistic projects include: ENTendre, a solo exhibition at a space gallery (toronto), to notice, a 150’ installation of light and shadow for Nuit Blanche Etobicoke, and an audio-visual commission by imagineNATIVE Film + Media Arts Festival called Where they begin I continue. Her solo exhibition What does good work look like? opened at Gallery 44 (Toronto) in 2022 and travelled to C’CAP (Winnipeg) in 2023. Recent curatorial projects include: How can I know you? a group show about the agency of land-based material at the Art Gallery of Burlington, and Otakosik Tapwa’win, an interactive online oral history project with Indigenous artists in Winnipeg from the 70s, 80s, and 90s. She has published with cmagazine. Her forthcoming book But have we arrived? explores the liberalism’s failed promises to Indigenous artists, and is contracted to ARP Books with a planned for release in late 2025.

Morrissette’s father’s parents were Michif- and Cree-speaking Metis with family histories tied to the Interlake and Red River regions and Scrip in the area now known as Manitoba. Her mother’s parents came from Canadian-born farming families descended from United Empire loyalists and Mennonites from Russia. Morrissette was born and raised in Winnipeg and is a citizen of the Manitoba Metis Federation.