Sandra Semchuk
Sandra Semchuk (born 1948) is a Canadian photographic artist. In 1998, Presentation House, Vancouver, B.C. programmed "How Far Back is Home ..." a 25-year retrospective of Semchuk's career highlighting her relationship to identity, morality and land. Sandra was awarded a grant from 2008-2015 from the Canada First World War Internment Fund to complete her book on Ukrainians in Canada, "The Stories Were Not Told: Stories and Photographs from Canada's First Internment Camps, 1914-1920". Career. Semchuk's early photographic works have been said to belong to a “broad general category of documentary”. Her photographic portrait  works from this era, more specifically her 1982 series of eighty-seven photographs entitled "Excerpts from a Diary," address themes of death and family whilst presenting a narrative of “self-examination and transformation” through her use of self-portraits and images containing domestic and prairie backgrounds. Penny Cousineau-Levine, the author of "Faking Death: Canadian Art Photography and the Canadian Imagination", writes of "Excerpts from a Diary" that the journey of Semchuk's protagonist “follows the structure of classic initiatory voyages of descent and return, death and rebirth, the prototype of which is the Greek legend … of Orpheus, who, grief -stricken at the death of his wife, descends to the underworld to convince the god Pluto to allow her to return to earth.” Cousineau-Levine goes on to state that these photographic sequences “take the shape of heroic descent into darkness and peril, into an experience of death and nothingness followed by rebirth, a transformed relation to the self, and a renewed connection to life”, something that she claims offers “an understanding of death that is particularly relevant to Canadian photography.” Collaboration with James Nicholas. James Nicholas & Sandra Semchuk were married until James died suddenly and unexpectedly in 2007. James  was a Cree artist from Nelson House, Manitoba. He suffered extensively in residential schools as a child. Their collaborative work focused on the multiplicity of relationships to land, cultural geography, settler and indigenous relationships and memory. Collaboration with Skeena Reece. In 2013, Sandra Semchuk worked with performance artist Skeena Reece on a piece titled "Touch Me" for the exhibition "Witnesses: Art and Canada’s Indian Residential Schools." During this performance, Reece and Semchuk struggle with themes of forgiveness and mother-daughter relationships as Reece bathes Semchuk.