2024 . Hidden Heroes
Artist-In-Residence . Deifenbunker Canada's Cold War Museum
Hidden Heroes is a compelling mixed-media exhibition that looks at how milestones in Canada’s journey towards equity, inclusion, and diversity during the Cold War were mirrored in steps in support of workplace representation among staff at Canadian Forces Station (CFS) Carp.
Under Prime Minister John Diefenbaker, who led the country between 1957 and 1963, Canadians saw broader political representation when, for the first time, a Chinese Canadian was elected as a Member of Parliament (1957) and a woman was appointed to Cabinet (1958). Such achievements underscore the progressive nature of the era. At CFS Carp, the country’s central communications headquarters during the Cold War, the corps of essential workers was also becoming more inclusive as, collectively, they maintained the site from 1961 to 1994. With a woman serving as Secretary for the Diefenbunker’s Commanding Officer and kitchen staff introducing menu options reflecting a variety of culinary backgrounds, diversity was being recognized.
Hidden Heroes weaves together the stories of unsung heroes. Sculptures made from paper ephemera, paper clay, joss paper, and archival photographs highlight the evolving roles and contributions of CFS Carp staff, reflecting their part in advancing equality both within the Diefenbunker and across society.
歡迎參觀「幕後英雄」作品展。這是一次引人入勝的混合媒介藝術作品展覽會，著眼於冷戰時期加拿大社會在步向公平、包容和多元化過程的里程碑，如何在加拿大軍隊 Carp 基地員工支援工作場所的表現中逐步得到反映。
在 1957 至 1963 年間，加拿大在約翰·迪芬貝克（John Diefenbaker）總理領導下，於 1957 年首次有加拿大華裔當選國會議員，以及 1958 年第一次有女性獲委任為內閣成員時，加拿大人看到了更多元化的政治參與——這些成就都彰顯了時代的進步。於冷戰時期，作爲國家中央通訊總部的加拿大軍隊 Carp 基地，必要工作人員隊伍也變得更具包容性，在 1961 年到 1994 年間共同維護該基地。由一位女性擔任冷戰博物館指揮官的秘書，並由廚房員工介紹反映各種不同烹飪背景的餐單選項，令多元化得到了認可。
「幕後英雄」作品展將眾多無名英雄的故事交織在一起，通過使用即棄紙張、紙黏土、紙錢及檔案圖片製作的塑像，彰顯加拿大軍隊 Carp 基地員工不斷進化的角色和作出的貢獻，反映出他們在推進冷戰博物館與整個社會公平過程中所擔當的角色。
Threads and Bolts
Cyanotype prints, thread
線與螺栓
藍曬法、線、膠水
Crafted from cyanotype prints showcasing tool silhouettes, this artwork takes the form of a traditional mechanic’s coat representing Diefenbunker technicians, mechanics, and electricians. The cyanotype process uses sunlight to create vivid blueprints. Here, it serves as a metaphor for illuminating the typically unseen work of these employees, while also brightening an otherwise dark space. The piece celebrates the expertise of workers past and present who labour behind the scenes.
採用傳統機械師外套的形式，代表著冷戰博物館的技術人員、機械人員和電工，這件藝術品由展示工具輪廓的藍曬法製成。藍曬工藝利用陽光創造出栩栩如生的藍圖，在此以隱喻的方式呈現，映照著這些員工通常不為人知的工作，同時亦為本來黑暗的空間帶來了光明。作品讚揚了過去及現在在幕後默默耕耘的專業工作人員。
Caring Threads
Inkjet prints, sourced images, thread
關懷脈絡
噴墨印刷、來源影像、線、膠水
Made from paper ephemera, inkjet prints, and sourced images of the Diefenbunker, this sculpture of a female nurse’s uniform symbolizes care, service, and resilience. It highlights the evolving roles of women during the Cold War era, within the Diefenbunker and beyond, in milestones such as Ellen Fairclough’s appointment as Canada’s first female Cabinet minister. The work encourages reflection on women’s often-overlooked contributions throughout Canadian history and their ongoing fight for recognition in male-dominated spaces.
這件女護士制服以即棄紙張及噴墨印刷技術，並根據加拿大冷戰博物館（Diefenbunker）的來源影像製造而成，象徵著關懷、服務與韌性。它突顯了女性在冷戰時期，在冷戰博物館及其他領域不斷演進的角色，例如艾倫·費爾克拉芙（Ellen Fairclough）獲委任為加拿大首位女性內閣部長的里程碑事件。作品鼓勵人們反思女性在加拿大歷史上所作出但卻往往被人忽略的貢獻，以及她們在男性主導的環境中，為獲取認同而持續不斷的努力。
Echoes from Beneath the Surface
Paper clay, joss paper, wire, gold leaf, paint
來自地下的迴響
紙黏土、紙錢、金屬線、金箔、油漆
These “gold” bars have been crafted from paper clay infused with Chinese joss paper, which is used in ancestral ceremonies as a medium for communicating with those who have passed on, linking past and present. Quotes taken from the Diefenbunker’s oral history collection and engraved on the bars touch on inclusivity, connecting Cold War era insights with Canada’s ongoing movement towards a more equal society.
這些「金」條是以紙黏土製作而成。靈感來自於在祭祀儀式中被用作與已往生先人溝通媒介的中式紙錢，聯繫過去及現在。引自冷戰博物館口述歷史收藏品和雕刻在金條上的引言涉及包容性，將冷戰時期的見解與加拿大持續走向更平等社會的活動聯繫起來。
Reflections from Above Ground
Paper clay, joss paper, wire, gold paint
來自地上的反思
紙黏土、紙錢、金屬線、金色油漆
As Canada embraced a more diverse society, the Diefenbunker became a backdrop for significant change. Douglas Jung’s appointment as the first Chinese Canadian in Parliament and Ellen Fairclough’s role as the first women in cabinet challenged traditional norms, symbolizing broader societal shifts. These advances highlighted the importance of diversity and representation in creating a more equitable nation.
隨著加拿大步入一個更多元化的社會，冷戰博物館成爲了重大變遷的背景幕。鄭天華（Douglas Jung）獲委任成為首位加拿大國會議員的華裔，以及艾倫·費爾克拉芙（Ellen Fairclough）作為首位女性內閣官員所擔當的角色都為傳統規範帶來了挑戰，象徵著更廣泛的社會變遷。這些進展突顯了多元化及代表性對建立一個更公平國家的重要性。
Kitchen Chronicles
Paper ephemera, inkjet prints, sourced archival images, paper clay, joss paper, gold paint
廚房記事
即棄紙張、噴墨印刷、來源檔案影像、紙黏土、紙錢、金色油漆
This artwork honours the contributions of those who worked in the Diefenbunker kitchen. Through a tapestry of storytelling, it highlights how food and social events enhanced the well-being of bunker occupants during the Cold War. The installation encourages viewers to reflect on the under-appreciated stories of these individuals, reminding us that even the smallest offering — like a single dumpling — can enrich the larger rendering of our shared history.
此作品向曾在冷戰博物館廚房工作的人員致敬。透過一系列豐富多彩的故事敘述，它突顯了冷戰期間食物與社交活動如何改善居住在地堡人士的福祉。展品鼓勵參觀者反思這些人被忽略的故事，並且提醒我們，哪怕是微小如一粒雲吞的貢獻，也可以在更大程度上充實我們歷史的全貌。
