E Sakihiwet

Catherine Boivin 

Catherine Boivin, E Sakihiwet, 2026, courtesy of the artist 

E Sakihiwet 

E Sakihiwet. Through the softness of skin touching another’s. Through the tenderness of caresses. E Sakihiwet. Through words of love, “I love you”s, and kisses exchanged in Indigenous languages. E Sakihiwet. Through the fire of desire. This is how we offer human warmth: E Sakihiwet.

Through nudity—including her own—Catherine Boivin explores Atikamekw sexuality, standards of beauty, and romantic practices before the arrival of the black robes. At the heart of the exhibition is a tent, evoking the love of her ancestors, which was lived close to the earth, on the needles of the fir tree or the fur of the beaver. “That’s how they made children. That’s how we joined the circle of life.” As we approach it—perhaps a bit voyeuristically, trying to glimpse what’s happening inside—we can hear, whispered, the words “I love you” and the sound of kisses. Bringing to life the stories passed down from generation to generation, at a time when sexuality was not taboo in her community, the artist lifts the veil on the ritual at the origin of our lives.

Further on, the details of certain parts of the body invite us to explore an uninhibited view of the body. After interviewing several Indigenous people in her circle and asking them what they like most about each other’s bodies, the artist reexamines what constitutes a standard of beauty and what it might look like when decolonized.

Then there are her portraits and self-portraits—nudes embroidered with traditional Atikamekw motifs based on her grandmother’s restored patterns. By bringing traditional craftsmanship to the forefront, the flowers they depict—historically cherished for bringing good luck—also remind us of what is beautiful and good within the territory we inhabit. Strategically positioned, they also remind us that “beyond stereotypes, there remains a sense of modesty.” Through her work, the artist thus dedicates herself to healing bodies; to tending to them by embroidering their genitals.

About the artist 

Originally from Wemotaci and Atikamekw Nehirowisiw, Catherine Boivin lives and works in Odanak. A multidisciplinary artist and filmmaker, she explores themes related to Indigenous identity, the body, the representation of women and colonial legacies through performance, digital imagery and video. Presented at daphne (2022, Tio’tia:ke / Montreal), Nikotwaso marks her first solo exhibition. Her work is part of an approach that is both personal and political, in which art becomes a space for reclaiming power and cultural affirmation. A marathon runner, fancy shawl dancer, speaker and activist, she uses a variety of forms of expression to raise awareness of Indigenous realities, both on stage and on social media. Since 2022, she has served on the board of directors of Wapikoni Mobile.

Opening on may first from 5pm in Ahkwayaonhkeh galery !

There is a free shuttle service for wendake people the night of the opening