Tiki Mulvihill

Tiki Mulvihill

Location: Canada

Canadian Tiki Mulvihill earned her BFA and MA Degrees at University of Idaho. Her regional activities extended her role as artist. She has had a diverse career including art /dance instruction, curating, coordination of education art programs and collections. Mulvihill has provided impetus for experimentation in multi-disciplinary, collaborative and community-based activities. Her MFA (University of Calgary) furthered varied connections through art. Recently, Mulvihill’s collaborative art ventures with fellow artist Fae Logie led to founding Art is Land Network, a Vancouver Canada-based nine-artist collective involving the use of natural and re-purposed materials to engage within landscapes. Also, recent affiliations with artists from theatrical fields, dance and textiles have invoked Mulvihill’s intra-disciplinary approaches to sites. She has exhibited multiple installations in Canada, USA, England, Scotland and Sweden.


Tiki Mulvihill

Multidisciplinary artist Tiki Mulvihill incorporates three-dimensional art, performance and audio in site-generated art installations and sculpture. Although currently situated in Vancouver, Mulvihill, a reluctant nomad, alternates between rural and urban communities. This transience generates an ongoing dialogue within her studio practice where she teases the supposed truths we construct in our conflicted relationships with place. Mulvihill’s work, constructed of natural and repurposed materials, is realized through pseudo-scientific research and development. It expands through viewer interaction and engagement to bridge the gaps between imaginary and actual: between fact and fiction. Her work voices contradictions of belonging in disparate environments where humans respond to ‘place’.

Seebe...ing “Seebe...ing”

I implement hierarchy objects and repurposed components from land and sea. These components encase in driftwood.

Drift Dog “Drift Dog”

I implemented hierarchy objects from containers and repurposed components from furniture. These components encase in driftwood for a sculpture.

Wall Drifts “Wall Drifts”

I gathered drift wood and implemented hierarchy objects and repurposed components from people in the past. The components encase in driftwood and mix with other unrelated components to evoke some inquisitiveness about users and usage.

Ancestral Drift “Ancestral Drift”

Our ancestral knowledge limits... derived solely from tales and objects of the past; stories, tools, machinery, household items and attire; once used to smooth life.

Within Ancestral Drift, I implement hierarchy objects and repurposed components from all sorts of tools and items once owned by my parents.

Ancestral Drift, 2 “Ancestral Drift, 2”

My mother’s lineage spawned from British Isles, my father’s from around the Baltic Sea. Ancestors set off within a wave of emigration triggered by economic hardships, evictions and religious persecutions for a new life across the ocean. They drifted into Canada through a current of air or water, with desire for land. Over years they aligned within the cultural mish-mash of Canadians through a gradual shift in attitude, opinion, or position.

Ancestral drift, 3 “Ancestral drift, 3”

Some objects retained within our ancestral families for several generations. These components encase in driftwood and mix with other unrelated components to evoke some inquisitiveness about users and usage.

Ancestral Drift, 4 (details) “Ancestral Drift, 4 (details)”

Ancestral drift combinations infuses past within present through places, people and objects situated within the cross-cultural perspective lens, which strangely defines Canada. Ancestral drift intends to trigger your own interpretation and understanding of ancestral history.

A drift 1 “A drift 1”

After completing Ancestral Drift, I gathered another group of drift wood and implemented hierarchy objects and repurposed components from all sorts of tools and items owned by people in the past.

B drift “B drift”

These objects often retain within ancestral families for several generations.

B drft 2 “B drft 2”

Component 3

C drift “C drift”

The components encase in driftwood and mix with other unrelated components to evoke some inquisitiveness about users and usage.

C drift 2 “C drift 2”

Component 5

Sandgren, Space Between “Sandgren, Space Between”

I attended a residency in Sweden. ARNA Harlösa intrigues me. The land situates in ‘the space between’ ancestral birthplaces of my grandmother Thelma Sandgren. This area, and the fascinating antiquity of Sweden, led my cross-cultural artwork overlapping past and present. I fortunately accessed to a compelling site on Arnold Hagström’s property, populated by stunning trees, lands and crops perfectly adjacent to farmland.

Sandgren, The Space between 2 “Sandgren, The Space between 2”

I named the installation ‘Sandgren, The Space Between’. Sandgren refers to ‘sand’ and ‘branch’; elements entirely implemented from the land’s ingrained natural materials. Usage of branches, with quirky direction, shape and angles curiously delineate the sculptural work I created. One ancient Viking boat, people, and animals upon a Nordic Bronze Age Petroglyph from Sweden excited me. I often heard of Viking transportation from Scandinavia all the way to Newfoundland, Canada (my country).

My Swedish ancestors immigrated upon sailing ships in 1889, during a peak period of vast population growth, which downsized homeland’s farm sites. I reference images of my Swedish ancestors, ironically all outdoors in wilderness.

Sandgren, The Space between 3 “Sandgren, The Space between 3”

These varied Swedish-based ideas and images drove my installation. As a result, I twisted the popular boat view and joined other components through divergent ideas based on the transport and space between my Canadian and Swedish relatives.
My incentive: to create a divergent notion about the ‘space between’ triggered a historical boat reference, along with contemporary or ancient active people outside the sea, with atypical heads of wild animals. All components existed between place, time and the North Seas.

Landlocked? “Landlocked?”

Derived from the fictional premise of a man’s desire to escape from land to sea, the installation ‘Landlocked?’ pivots around an intentionally ‘close-to-completion’ boat, cradled beneath a roof frame hung from the ceiling. This quarter-scale vessel, crafted from re-purposed materials and hardware, anchors to a small pile of earth nestled upon the gallery floor.

Landlocked? 2 “Landlocked? 2”

Vessel interior (1/4 scale), fabricated from found objects, hardware and repurposed materials.

Landlocked? 3 “Landlocked? 3”

Paralleling these sculptural components six collage-like drawings derived from ‘re-purposed imagery’ reference the overlap between daily life and one man’s obsession with building an escape vessel.

Landlocked? 4 “Landlocked? 4”

These images connote plans or blueprints from life and construction.