Projects

Tracey-Mae Chambers’ practice is structured around long-term, research-driven installation projects that respond to public space, institutional context, and collective experience. Her work is grounded in fibre-based processes and developed through sustained engagement with communities, sites, and lived histories.

The projects below represent distinct but interconnected bodies of work. Each explores how art can function as a site of care — creating space for grief, remembrance, dialogue, and responsibility within contemporary public life.

Hope and Healing Canada (2021–ongoing)  
A national series of site-responsive fibre installations exploring decolonization, reconciliation, and collective healing. Presented in museums, galleries, heritage sites, universities, and civic spaces across Canada, Hope and Healing Canada adapts to each location, responding to its architectural, historical, and social context. The work invites reflection on how institutions hold memory and how public space can support conversations around shared responsibility and care.

They Are Loved: An Epidemic of Grief (2024–ongoing) 
A commemorative installation project confronting the opioid crisis in Canada. Developed through dialogue with families, communities, and organizations impacted by addiction, They Are Loved foregrounds dignity, visibility, and compassion. Using repetition and labour-intensive fibre processes, the work honours lives lost while resisting stigma and abstraction, offering spaces for mourning, empathy, and remembrance.

Earlier Works & Related Installations  
​Chambers’ earlier installations and sculptural works address themes of environmental loss, material labour, and embodied presence. These projects form the conceptual and material foundation for her current practice, establishing a long-term engagement with scale, repetition, and the politics of care that continues to inform her work today.