Sandra Semchuk

Career

Semchuk’s early photographic works have been said to belong to a “broad general category of documentary”. Her photographic portrait works from this era, more specifically her 1982 series of eighty-seven photographs entitled Excerpts from a Diary, address themes of death and family whilst presenting a narrative of “self-examination and transformation” through her use of self-portraits and images containing domestic and prairie backgrounds.

Penny Cousineau-Levine, the author of Faking Death: Canadian Art Photography and the Canadian Imagination, writes of Excerpts from a Diary that the journey of Semchuk’s protagonist “follows the structure of classic initiatory voyages of descent and return, death and rebirth, the prototype of which is the Greek legend … of Orpheus, who, grief-stricken at the death of his wife, descends to the underworld to convince the god Pluto to allow her to return to earth.” Cousineau-Levine goes on to state that these photographic sequences “take the shape of heroic descent into darkness and peril, into an experience of death and nothingness followed by rebirth, a transformed relation to the self, and a renewed connection to life”, something that she claims offers “an understanding of death that is particularly relevant to Canadian photography.”

Collaboration with James Nicholas

James Nicholas & Sandra Semchuk were married until James died suddenly and unexpectedly in 2007. James was a Cree artist from Nelson House Manitoba. He suffered extensively in Residential schools as a child. Their collaborative work focussed on the multiplicity of relationships to land, cultural geography, settler and indigenous relationships and memory.

Education

Select Solo Exhibitions

Collections

Publications