TJ Cuthand is a filmmaker, artist, writer and curator of Plains Cree and Scottish and Irish descent.[1] He is a self-described "bipolar butch lesbian two spirited boy/girl thingamabob" and began exploring video in high school, espousing a style that would continue through much of his work.[2] His experimental film and video have a distinctly DIY and "diarist" aesthetic, often with voice-over narration, and storytelling that explores his experiences of identity, race, sexuality, relationships, ageism and mental health.[3][4][5]
TJ Cuthand | |
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Born | 1978 Regina, Saskatchewan |
Occupation | Artist |
Years active | 1995–present |
Parent(s) | Ruth Cuthand, Edward Poitras |
Relatives | Lori Blondeau (auntie) |
Website | https://www.thirzacuthand.com |
In 1995, a queer film festival and workshop that came to Saskatoon prompted him to start making his own films.[6] The workshop resulted in the production of his first short video, Lessons in Baby Dyke Theory, which was screened when he was sixteen in acclaimed film festivals around the world. A self-described "bipolar butch lesbian two spirited boy/girl thingamabob"[2] his low budget productions of experimental film and video explore issues of identity, race, sexuality, relationships, ageism and mental health.[7]
Born in 1978 in Regina, Saskatchewan, Cuthand grew up amongst artists in Saskatoon.[8][9]
Cuthand credits Maureen Bradley with teaching him how to make his first video. Other early mentors include Dana Claxton, Shawna Dempsey and Lorri Milan.[10]
In 1995, a queer film festival and workshop that he attended in Saskatoon prompted him to start thinking about sharing his video experiments more widely.[11][12] The workshop resulted in the production of his short video, Lessons in Baby Dyke Theory, which was screened when he was sixteen in acclaimed film festivals around the world. In 1999 he was selected for an artist residency at Videopool and Urban Shaman where he completed Through the Looking Glass, a work that plays off Lewis Carroll's novel of the same title, and sees Cuthand play the role of Alice, in conversation with the Red Queen (played by Cosmosquaw AKA Lori Blondeau) and the White Queen (Shawna Dempsey) as a device to discuss cultural heritage and the construction of race.[13][14]
Following his early success, he went on to complete a BFA in film and video at the Emily Carr University of Art & Design in Vancouver.[15]
Cuthand's work has been presented at numerous festivals and exhibitions including the Whitney Biennial (USA), Walker Art Centre (Minneapolis), Mackenzie Art Gallery (Regina), Oberhausen International Short Film Festival (Germany), San Francisco Gay and Lesbian Film Festival, Optic Nerve (Peterborough) The Women's Television Network, MIX NY, the Walter Phillips Gallery (Banff), Mendel Art Gallery (Saskatoon), MIX Brasil Festival of Sexual Diversity, New York Exposition of Short Film and Video, 9e Biennale de l'Image en Mouvement (Geneva) and the 70th Berlin International Film Festival[16] where NDN Survival Trilogy (Reclamation, Extractions and Less Lethal Fetishes) his witty, personal short films about extraction capitalism in Canada were screened at the Canadian Embassy.
He was featured in the 2019 Whitney Biennial, and the film program, What Was Always Yours and Never Lost, yet shared his disappointment in the controversies of Whitney Museum Vice- Chair, Warren Kanders's implication in war profiteering.[17][18][19]
Cuthand moved to Toronto to be closer to more industry resources, help develop his practice and continue to work on short films.[20][21] He has self-funded many of his own projects though he increasingly works with larger budgets.[22][23][24][25] Cuthand also works as a curator and has organized programs for ImageNation (Vancouver), Video Out (Vancouver), Paved Art (Sasktoon) and Queer City Cinema (Regina).
In 2017 Cuthand was awarded the Hnatyshyn Foundation’s REVEAL Indigenous Art Award.[26] In 2021 his short film Kwêskosîw (She Whistles) won a Golden Sheaf for Short Subject- Fiction at the Yorkton Film Festival, the Mana Advancement of Indigenous Rights Award at the Wairoa Maori Film Festival in New Zealand, and the Bronze Audience Award for Best Canadian Short at Fantasia.[27][28][29][30][31]
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