Tiohtià:ke/Montréal
London
Alger
Paris

Berirouche Feddal
studio@berirouche.ca

Born in Rouiba in 1996 and raised between Algiers and Irdjen, his parents’ Kabyle village, Berirouche Feddal was ten when he landed in Pointe-aux-Trembles, at the eastern tip of Tiohtià:ke. He now works between Montréal, London and Algiers, and is pursuing an MFA at Goldsmiths. His practice is a souk where nothing settles: abstract and figurative, object and performance, war and colour, Pan-Africanism and its violence. Stadium chants become protest songs; gold and wheat ask to be worshipped. He works with what time leaves behind: rusted objects, henna rusting in the elders' hair, relics of childhood that hide inherited horrors. Kardoune, devotional symbols and burned wood carry the voices of parents and villagers, the afterlives of colonial history, the ghosts that refuse to leave. His colour began underfoot, on his grandmother's carpets. His work talks to the dead, leaves space empty, and allows itself to forget.

CV


PRESS
Dans les plis du souvenir, les couleurs se taisentVie des arts, no. 279, Winter 2025VisitesText: Dounia Bouzidi
Fleurs fanées: Anna Binta Diallo et Berirouche FeddalVie des arts, no. 275, Summer 2024Créations
L'art de recycler des bouts de muséeLe Devoir, April 24, 2024Text: Stéphane Baillargeon
La révolution des couleursLe Devoir, March 30, 2024Text: Amélie RevertPhoto: Adil Boukind
Dans l'atelier de Berirouche FeddalEsse arts + opinions, no. 110, AgricultureText: Nicholas DawsonPhotos: Alexandra Dumais
VIDEOS
▶ Play
la clarté creuse les montagnes, 2026Musée d'art de JolietteCurated by Ariane De BloisWith asinnajaq, Nathalie Batraville, Stina Baudin, Amanda Boulos, Shannon Garden-Smith, Frantz Patrick Henry and Tyson Houseman
▶ Play
Afrotopos, 2025Stewart Hall GalleryCurated by Diane GistalWith Damien Ajavon, Delali Cofie, Anna Binta Diallo, Marie-Danielle Duval, ibiyanε and Roxane Mbanga
▶ Play
Textile Beyond Craft, 2023Round table: Reflections on the Montreal SceneCentre de design UQAMModerated by Christina ContandriopoulosWith Édith-Anne Pageot and Michaëlle Sergile
▶ Play
Spoliation du souk, 2022Conseil des arts de MontréalCurated by Michelle Caron and Colas Eko
PODCAST
Conjuguer les identités qui nous habitentIn/Tension, The Power Plant, 2023Hosted by Diane GistalWith Anna Binta Diallo42 min
▶ Listen
Pelures 2022
Drawing on imagery from historical archives and personal anecdotes, Berirouche Feddal traces his Amazigh origins, manipulating the past anew. Wood, photographs, book pages, and detritus are etched, cut, and even burned, then layered with generous, vibrant colour. Feddal is constantly removing and reapplying layers of materials, a process that mimics how memory is passed down through generations, added to and shaped, an accumulation of fragments over time. Feddal’s multidisciplinary work is unconcerned with historical accuracy or easy-to-read narratives, bridging the past with the present suffices. In manipulating some elements, he reveals others.

Legibility is a facet of the work of Lan “Florence” Yee 余承佳 as well. Second-generation Cantonese, Yee creates text-based artworks to play with and disrupt exclusionary conventions of language and imagery. Words are embroidered across printed cotton photographs, paintings are unfocused and distorted, removing information and obstructing the blurry images behind them. Without prioritising narrative or linguistic signifiers, Yee’s work values instead the indecipherable or the unreadable, a gesture that is defiantly aware of how language can be used to define, exclude and erase diasporic communities.

What’s more, the words across Yee’s printed photographs act as a watermark of sorts, recalling a sense of ownership or property claim, like those stamped on mass-circulated digital images or found on the underbelly of commodified goods. Yee reminds us that racialized identity and culture are equally commodified, tokenized images and bodies exploited across commercial, public, and online spaces.

Meticulous in their creation, Yee and Feddal’s work are evidence of labour and care, not only in their physical acts of making (Yee’s hand stitches or Feddal’s layers of paint and pastel) but also in the time spent engaging with images and language of their cultural legacies.

Text: Bradley Ertaskiran
Bradley Ertaskiran, Montréal, Canada
January 20 – February 26, 2022

Two-person exhibition with Lan “Florence” Yee 余承佳

Photos: Paul Litherland

Exhibition page, Bradley Ertaskiran

PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
Je cherche Fatma No. 12022Wood engraving, oil pastel76.2 × 91.4 cmPhoto: Paul Litherland
PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
I am not Lalla Fatma N’Soumer2019Silkscreen on paper, oil pastel, gold leaf78.7 × 59.7 cmPhoto: Paul Litherland
PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
Silver Era2022Wood engraving, oil pastel, silver leaf30.5 × 22.9 cmPhoto: Paul Litherland
Please Help YourselfLan “Florence” Yee, in collaboration with Arezu Salamzadeh, 2019Glazed ceramic7.6 × 7.6 × 2.5 cmPhoto: Paul Litherland
PeluresInstallation view, Bradley Ertaskiran, Montréal, 2022With Lan “Florence” YeePhoto: Paul Litherland
Protecteur No. 12022Kardoune, synthetic hair, printed fabric33 × 118.1 × 73.7 cmPhoto: Paul Litherland
PROOF—Please Help YourselfLan “Florence” Yee, 2021Hand embroidery on cotton voile inkjet print94 × 127 cmPhoto: Paul Litherland
She hides my weapons2022Acrylic, pencil, oil pastel on paper64.8 × 24.8 cmPhoto: Paul Litherland
Internal bleeding2021Oil pastel and pigments on engraved wood panel76 × 101.5 cm
Internal bleeding (detail)2021Oil pastel and pigments on engraved wood panel76 × 101.5 cm
Internal bleeding (detail)2021Oil pastel and pigments on engraved wood panel76 × 101.5 cm
June 19, 19632022Oil on canvas, embroidery, gold leaf, printed fabric, silkscreen on paper101.6 × 152.4 cmPhoto: Paul Litherland
Jewelry Debt No. 12022Silkscreen, burned paper55.9 × 70.5 cmPhoto: Paul Litherland
PROOF—Sharing goji in amiskwacȋwâskahikan (ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ)Lan “Florence” Yee, 2021Hand embroidery on cotton voile inkjet print94 × 127 cmPhoto: Paul Litherland


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