Border Crossings is a quarterly magazine investigating contemporary Canadian and international art and culture. If you love art and you want to be taken to unexpected places, if you want to know about the most challenging contemporary artists and issues, and if you want that knowledge to be shaped by the finest writing and images, then Border Crossings is for you.

In this issue:

This is a period of evanescence — not radiant or transcendent — just here and gone. It seemed like a good time, then, to address the subject of material — hence the theme of this issue MATERIAL. Something with dimensions, weight, colour and substance. Something you can put a finger on or rub across, something to gauge in the palm of your hand. Something on which to make an impression, leave a trace and in turn have the substance respond to your mark.

In this issue of Border Crossings, we have turned the substance over, held it, sniffed it, queried it and have looked at a range of ways material is addressed. In the Borderview section at the magazine’s start we offer Natalka Husar, a noted Canadian painter who is showing a large work where paint is only one medium among many, including fabric, a zipper, a metal pot lid, magnets, snaps, clips and embroidery, giving full meaning to the term, mixed media. Also, in this section is Montreal-based, Haitian born artist Michaëlle Sergile who is addressing a history that had been invisible or overlooked, bringing this significant archive of Montreal’s Black community’s recorded photographs into the present as sizeable woven tapestries. Sharing the section are the angry but also tender fabric works of Edmonton-based artist Richard Boulet who transforms demons into butterflies, uses wisps of material, cross-stitched declarations as well as the crocheted work of collaborators. He makes it clear the barbs and admonitions make the term needlework apt.

 Winnipeg, Canada; 220mm x 280mm; 164 pages; 2023