Marina Hulzenga

10004 - 10032 103A Ave
Daily: 11 am - 8 pm

LIMINAL SPACE | | AWASITIPAHASKAN is a spatial installation about the borders – in all meanings – of First Nations reserves in Alberta. Beginning in 2014 with intense field research at four different reserves surrounding Edmonton: Enoch Cree Nation, Saddle Lake Cree Nation, Onion Lake Cree Nation, Maskwacis: Samson Cree Nation, Ermineskin Cree Nation, Louis Bull Tribe and Montana First Nation, the project has materialised into a collection of collections.

There are 140 First Nation reserves in Alberta, Canada. Each reserve is cut out of the landscape “for the use and benefit of the respective bands for which they were set apart” (18. (1) of the Indian Act). At the edges of the reserves an expanse of space lies, manifesting itself through various physical, social and

emotional experiences. This spatial installation pays witness to these border spaces and creates a territory for conversation, to make room for the re-discovering and re-imagining of our narrative. Amiskwaciy Waskahikan/Edmonton’s space and place in this narrative are integral: the landscape and community remember and know.

LIMINAL SPACE: The space of a threshold from one domain to another. AWASITIPAHASKAN: ‘Across the border line’ in the Indigenous language of Cree.

Collection 1: “Driving on gravel roads makes me feel home.”
There is a moment when crossing the indistinct border of a reserve that you realise something has

changed: the highway has given way to a rugged gravel road. The work that makes up this collection of tiles is a study into the humble and subtle material transition that takes place at the edges of reserves.

Collection 2: “Lifelong tenants on crown land.”
By looking at the actual form, the contours that define one space from another, we can see where territories and peoples were set aside–were reserved. The process of finding as much as presenting these reserve silhouettes is a conversation on treaties: what happened in the past that lead to the present and the future with recognition and understanding.

Collection 3: “The word artefact insinuates it is dead.”
The word “artefact” is a term highly used within a museum or cultural institution, a place where a culture’s history comes to lie on shelves and in drawers. But what if that culture is still alive? With this seemingly simple word an entire perspective, an entire belief system, is being silenced.


Marina Hulzenga was born in Edmonton, AB, where she currently resides and works. Hulzenga’s work

traverses the spheres of spatial design, curation, and design research. Working with a variety of mediums, Hulzenga is absorbed in collecting and research as a means to creativity, with her work focusing on uncovering details and connections within our spatial awareness that are often overlooked. With this approach she creates spatial experiences that open up a third space for exchange and debate.

Studying exhibition design at MacEwan University initiated Marina’s professional design career, working as an exhibit designer at both the Royal Tyrrell Museum and Royal Alberta Museum. Marina then completed a BDes in Public Space design at the Design Academy Eindhoven in the Netherlands, where the project LIMINAL SPACE | | AWASITIPAHASKAN took part in two group exhibitions. Marina is a recent recipient of the Edmonton Arts Council’s Individual Project Grant.