Wally Dion

Saskatoon, Saskatchewan / New York

Wally Dion’s background in social work and advocacy informs his practice in the subject matter he creates in his work. It was only in 2006 when he decided to “set out in the uncertainty of art” by embracing being a full-time artist. Inspired by community, caregivers and the geography of landscapes transformed by mass consumption and environmental degradation, Dion encapsulates the care and energy of quilting circles in conversation with e-waste. 

Green Star Quilt, 2019, Circuit boards, brass wire, and copper tube, 193 x 179 cm. COURTESY OF KT KANAZAWICH

Caterpillar, Egg, Cocoon, Moth, 2019. Circuit boards on plywood, and nails, 87 cm diameter. COURTESY OF KT KANAZAWICH

Caterpillar, Egg, Cocoon, Moth (detail), 2019. Circuit boards on plywood, and nails, 87 cm diameter. COURTESY OF KT KANAZAWICH

Shield Wall, 2008, Computer circuit boards, plexiglass, copper wire, enamel paint and recycled materials, 155 x 193 x 86 cm COURTESY OF DON HALL

Shield Wall (detail), 2008, Computer circuit boards, plexiglass, copper wire, enamel paint and recycled materials, 155 x 193 x 86 cm COURTESY OF DON HALL

Using circuit boards as material, Dion confronts the sprawl of human industry and its effects on people, often by creating work that recalls environmental destruction through the materials of waste, often through the language of textile design.

Dion advocates for Indigenous makers to interject themselves into the Western craft canon. His focus on craftsmanship speaks to a deep understanding of the importance of craft.

“We still need objects; disciplined, skilled craft. It’s important to have objects in history for people to push against. Work needs grit, technical skill and rigour. I’m trying to raise the discourse for Indigenous makers in Canada. We will be measured in time.”

Wally Dion
w: wallydion.com
ig: @wally_dion
fb: Wally Dion

This article was published in the Spring/Summer 2021 issue of Studio Magazine.