Amelia Fay

@aemfay.bsky.social

2311 Followers 413 Following

Archaeologist by training | Museum Curator with an anti-colonial approach | Mom of 3 cats and one small human | Slow runner |Settler on Treaty 1 land | She/her.

A round porthole-style window looks out into the Narrows of St. John’s harbour. In the foreground, a multi-story building, backlit by the bright lights from ships in the harbour. A heavy fog is rolling in.
A museum display featuring a glyptodont and giant sloth on a platform. Behind them is a blank wall waiting for its new mural. To the right, a red curtain hides a school programming space. To the left, an inukshuk leads to the next gallery.
A paperback novel with a shiny red cover sits on a beige couch. The title, Bad Cree, is written in big white letters. Underneath in smaller black font are some Cree syllabics and the words “a novel”. A thin black line like a wire runs the width of the book near the bottom and three black crows sit on it. The author’s name, Jessica Johns, is in yellow under the crows.
An exhibit case featuring Helen Housty’s belongings. Helen high-ranking Heiltsuk woman who married Nuxalk man Sam Schooner. A woven hat with painted form line artwork sits atop a mount that is nearly invisible, making the hat appear to be floating in the case. Next to it is a carved talking stick. To the left you can see the edge of a woven blanket.
Six beautiful birch bark bitings are laid out on a bright white light table to bring out the designs. The birchbark squares look orange and have intricate floral designs, all made by the artists teeth, that appear as brighter yellow when the light shines behind them.
A woman is very bundled up in a light purple jacket, and face covering with only her eyes and bridge of her nose peeking out. Behind her is a lot of snow, and crisp winter morning light.
A large open room with white walls and curved ceiling panels, filled with round tables full of people beading together, sharing stories, and having a good time!
An image of digital art made to look like Indigenous beadwork on a black background. The design features a white vine with vibrant florals and berries in yellows, blues, pinks, reds, and purple. The text says Manitoba Museum bead-a-thon, Sunday, January 5, 2025. 10am to 3pm
A bright blue, cloudless sky above a darker blue watery horizon. White wave caps are rolling in. A human figure wearing a black shirt and grey pants looks like a tiny speck standing upon beige tidal flats littered with multicoloured rocks. In the foreground, there’s a small pool of water and rocks, showing the great distance the water recedes at low tide.
A small digital data logger on a grey wall. The display reads 57.94 degrees Fahrenheit and 47.8% relative humidity. The battery is also running low and will need a charge soon!
A group of people, many with their backs to the camera, chatting with two curators. The gallery lighting is dim, but the table in front of the curators with their specimens (unseen) is brightly lit, casting bright light on their faces.
Picture shows the edge of a beige chaise lounge with one chonky white and grey cat curled up and a human’s thigh in cozy light blue sweat pants. In the background, a grey and white cat in curled up on a little cube beside a big window. Bright sunlight fills the room.
An open cardboard box shows two large jars with green lids, one labeled Sumaq, the other labeled in Arabic (but it is za’atar) and a smaller jar with a red lid labeled seven spice. There is a canvas tote bag folded up with keffiyeh designs, and some recipe cards labeled Taste of Palestine.
A close up of large brownish-grey oval stone maul with a rawhide lashing. A series of letters and numbers, the catalogue number, was written directly on the hide.
A handsome black and white tuxedo cat with two white paws dangling nestled in the top of a cat tower with a beautiful grey and white cat. Both look annoyed to be disturbed.