In her work Wild, which includes several performances, she takes possession of “the best bedroom.” [Her] work refers to an invisible history, in this case that of the First Nations tribes who were the earliest inhabitants of that land on which The Grange stands. Through her physical occupancy of the four-poster bed, now re-covered in hair and beaver pelts, Belmore plays the role of the unexpected and historically unwelcome guest in the most intimate room in the house. Through this work she enacts a layered redressing of history while fulfilling the fantasy of finding a comfortable, even luxurious, place to stay in a hostile world – a world that saw her ancestors as potential aggressors to be feared.
Jessica Bradley and Gillian MacKay, eds., House Guests: The Grange 1817 to Today, Art Gallery of Ontario, 2001
Photo credit: Art Gallery of Ontario