Maura Meng, a Yellowknife-based artist who relocated to the Northwest Territories in 2014, has transformed locally sourced clay into a deeply personal exhibition now showing at the Prince of Wales Northern Heritage Centre. Her exhibition, titled "Unearthed," features approximately 200 ceramic hands that appear to emerge directly from the gallery walls, creating an immersive environment that visitors describe as both haunting and deeply moving. Meng created these pieces over an intensive year-long period, digging clay from the ground around Yellowknife herself and firing the works in a traditional wood kiln. The exhibition represents a significant evolution in her artistic practice, marking her transition from functional pottery to conceptual sculpture that explores complex emotional and psychological territories. Her work demonstrates how regional materials can anchor artistic expression in specific place and personal experience.
The ceramic hands installation serves as the centerpiece of "Unearthed," with each hand cast from molds Meng created by first sculpting original clay forms. She developed an elaborate multi-step process that begins with hand-building each original sculpture, then creating a mold, and finally casting multiple versions using the local clay she excavates herself. This labor-intensive technique allows her to produce the numerous identical yet individually unique hands that populate the exhibition space. The hands emerge from walls at various heights and angles, suggesting a collective human presence breaking through architectural barriers. Meng describes the installation as a visual representation of her own emotions, with each hand capturing a different psychological state or moment of introspection that she experienced during her creative process.
In addition to the ceramic hands, the exhibition includes a compelling series of masks that Meng used to explore and document her emotional states throughout the project's development. These masks, also crafted from Yellowknife clay, display a range of expressions from serene to distressed, charting the artist's internal journey over the year of intensive creation. Meng explains that the mask series functioned as a visual diary, allowing her to externalize and examine feelings that might otherwise remain hidden. The raw, unrefined quality of the local clay adds authenticity and immediacy to these emotional explorations, with the material's natural variations in color and texture reinforcing the theme of unearthing buried feelings. Visitors have responded strongly to the masks' raw honesty, finding their own experiences reflected in Meng's emotional documentation.
Meng's commitment to using locally sourced materials reflects her deeper philosophy about artistic practice and community connection. After moving to the Northwest Territories, she initially focused on creating functional pottery before recognizing that sculpture offered greater freedom for intuitive exploration and complex idea development. The decision to dig her own clay represents both a practical choice and a conceptual statement about rootedness and place-based art making. Working with Yellowknife clay connects her work directly to the territory's geological and cultural landscape, creating pieces that could not exist anywhere else. This approach has resonated with local audiences who recognize the material's distinctive character and appreciate seeing their environment transformed into fine art.
During an interview with Cabin Radio while attending an artist residency in Medicine Hat, Alberta, Meng emphasized the importance of showing her work locally before taking it to broader audiences. She designed "Unearthed" specifically for the Prince of Wales Northern Heritage Centre, taking advantage of the museum's abundant wall space to accommodate her installation. This consideration of venue demonstrates her thoughtful approach to exhibition design and her commitment to community engagement. Meng believes artists working in the North have a responsibility to first share their work with the communities that inspire and sustain them. Her success in securing such a prominent venue validates her belief that persistence and local connection can open important opportunities for regional artists.
Meng offers simple but powerful advice to emerging artists and creatives: maintain persistent exploration of ideas and continue working from genuine inspiration. She acknowledges that the artistic path involves constant challenges, with some projects receiving support while others fail to materialize despite best efforts. The key, she insists, is continuing to create regardless of immediate outcomes or recognition. Her own journey from functional potter to conceptual sculptor exemplifies this philosophy, showing how sustained exploration can lead to profound artistic evolution. "Unearthed" will remain on display in the museum's Mezzanine Art Gallery until May 2026, giving visitors ample opportunity to experience Meng's unique vision. The exhibition stands as a testament to how regional artists can transform local materials into universally resonant statements about human experience and emotional authenticity.
