Kim Waldron

  • Packaged lamb, Kim Waldron, 2012
  • Packaged pork, Kim Waldron, 2012
  • Packaged veal, Kim Waldron, 2012
  • Pig entrails, Kim Waldron, 2012
  • Pig head, Kim Waldron, 2012

En résidence | In residency : 06 – 10.2013
Présentation publique | Public Talk | Les Consultations : 30.05.2013



Born in Montreal, Canada, she graduated from NSCAD University in 2003 and Concordia University in 2013. She is a 2013 recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art. Waldron has exhibited extensively, most notably at Oboro, Expression, Musée régional de Rimouski, Oeil de Poisson, Vu, Gallery 44, Eyelevel Gallery, Eastern Edge Gallery, Art Gallery of Windsor and La Centrale. She took part in a three-month residency in Vienna in 2007 offered by the Austrian Federal Ministry for Education, Arts and Culture and a one-month residency in Newfoundland in 2009 offered by the English Harbour Arts Centre.

Kim Waldron est née à Montréal, Canada. Elle a obtenu un diplôme de l’université NSCAD en 2003 et l’université Concordia. Elle est une lauréate de la bourse 2013 de fin d’études supérieures Claudine et Stephen Bronfman en art contemporain. Ses oeuvres ont fait l’objet de plusieurs expositions, notamment à Oboro, Expression, Musée régional de Rimouski, Oeil de Poisson, la Galerie 44, Vu, Galerie Occurrence, Eyelevel Gallery, Eastern Edge Gallery, Art Gallery of Windsor ainsi qu’à La Centrale Galerie Powerhouse. Elle a eu une résidence de trois mois à Vienne en 2007 offerte par le Ministère autrichien de l’Éducation, des arts et de la Culture et une résidence d’un mois en Terre Neuve en 2009 offerte par le English Harbour Arts Centre.


Kim Waldron’s art practice frequently uses self-portraiture as a means of engaging with various contemporary social situations. Through addressing the idea that reality is always a construction, over the years her work has questioned the role of images and the importance of context as discourse. The conceptual framework of her photographic series is based on the boundary that defines reality and fiction. Not only is self-representation an integral component of her work, the contexts that she uses to create these narratives are equally as important.

La pratique artistique de Kim Waldron fait fréquemment usage de l’autoportrait comme moyen de prendre position sur divers enjeux sociaux contemporains. Au fils des années, son travail a su questionner le rôle de l’image et l’importance du contexte comme discours tout en adressant cette idée que la réalité est toujours une construction. Le cadre conceptuel de ses séries photographiques repose habituellement sur les frontières qui définissent la réalité et la fiction. Si l’autoreprésentation est extrêmement importante dans son travail, l’utilisation de divers contextes pour construire ses narrations l’est tout autant.


The next four months will be spent working in the studio, making books, experimenting with photo lithography and developing a new project.


At le Cabinet I will present documentation of Beautiful Creatures and discuss the role of process in my art practice. The Beautiful Creatures project is a series of photographs and artworks that question our profound disconnection to the food we eat. In order to understand how animals are transformed into the meat we consume, I put myself in the shoes of the slaughterer, the butcher and the cook during a one-month residency at English Harbour Art Centre in Newfoundland.
I previously worked as a professional chef in Montreal. For this project I wanted to cook food for people to enjoy free of charge—food that I had processed from start to finish. I first attended slaughtering and butchery courses. I then slaughtered and butchered a calf, a pig, a lamb, a chicken and a duck, as well as caught a rabbit. Afterwards, the head of each animal was stuffed and mounted as a trophy.