Bearing Witness: Art of Jeannette Sirois
Cowichan Public Art Gallery, 126 Ingram Street, Duncan V9L 1P1
Lower Gallery Nov 28 - Feb 28, 2026.  Hours: Tuesday - Saturday, 10:00-4:00
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Shortly after her exhibition, Bearing Witness, was installed at the Cowichan Public Art Gallery, Jeannette Sirois visited the gallery to take some photos. Out of sight, she overheard a woman looking at one of the portraits in At the Table: A 2SLGBTQ+ Visibility Project. The woman became emotional, exclaiming: “I know this person.” At that moment, Sirois realized her artwork was succeeding in its aim: communication from one heart to another.

To be seen is to be valued. Through connection comes a feeling of self-worth. To be accepted as a complete person, as well as a member of the queer community, or someone with health issues, is invaluable. Sirois transferred this compassion for self and others into a remarkable project. She put out a call on social media to her community on Salt Spring Island. She invited local 2SLGBTQ+ individuals to tell their stories, by presenting themselves in large-scale portraits, detailed through hyper-realism.

At the Table: Dhenae

At the Table: Rain

At the Table: Lou

All portraits in the At the Table: A 2SLGBTQ+ Visibility Project series are coloured pencil & mixed media on paper, 60x40 inches. Mounted on aluminum panels, unframed.

Sirois was mindful to include participants who showed diversity in race, nationality, identity and lived experience. In her studio, she took hundreds of photos of each subject. As trust developed, her guests shared key messages about their way of being in the world. “These aren’t just images - they’re collaborations. They hold history, hope, pain, and resilience. Each drawing is a document of someone’s truth, and each portrait is a way of resisting silence.”

For these monumental drawings, each 60 by 40 inches, the artist used high-quality drawing paper and coloured pencils. The Swiss-made pencils are strong and guaranteed lightfast for many years. To build up the image, she employs repetitive stroking and a finely-tipped point. Each portrait takes 400-500 hours to complete. The stencilled letters that articulate the words of the model run together, making close observation necessary. “In our fast-paced world, stopping to look carefully and connect with an artwork is significant,” Sirois says. The words convey heartfelt sentiments from each model. For example, Dhenae’s letters say: “Do not limit me, I am not queer. I am a daughter, friend, coworker and student.”

At the Table: Chauntelle

At the Table: Peace

At the Table: Arturo

Sirois speaks at length about her distrust of social structures that do not recognize gender variations on the male/female continuum. For example, she describes the confusion of filling in a form with only two boxes, male or female, when neither box describes your gender. How does it feel to be an “other” within a documentation system that favours sameness at the risk of possible erasure?

Sirois is alarmed by recent events in Alberta, in which the provincial government has enacted laws that ban gender-affirming surgeries for those under 18. Citing these laws as a violation of rights and freedoms, some medical and advocacy groups have challenged them in court. In response, the Alberta Government enacted a Notwithstanding Clause in November 2025, protecting these laws from being struck down. Sirois envisions a society in which difference is valued and people are not manoeuvred into social roles and situations ill-designed to fit their needs.

“Bad Hair Day”, coloured pencils, graphite, 65x48 in, 2019

​Bad Hair Day, Mortal Coil and First Threads present a contrast to the At the Table series with a more sombre tone. For example, Bad Hair Day describes how mental health issues can impact daily life, making simple tasks like dressing and grooming difficult. Oversized, at 64 by 48 inches, the image is a mixed-media portrait of Lorraine, Jeannette’s spouse. The cropped face looks warily at the viewer with an intense gaze. We feel like we know this person and she knows us. There is no intention to disguise or soften the emotional field that surrounds this persona. The details are well-defined: rosy colour on cracked lips, fine lines around tired eyes, eyebrow hairs carefully delineated. Bad Hair Day is a study of a face that communicates the pressures of life.

“Mortal Coil”, coloured pencil, graphite, ink, 20x30 in, 2025

“First Threads”, coloured pencils, graphite, 20x30 in, 2019

Like many people, Sirois has lived-experience with mental health issues. Both Mortal Coil and First Threads visually encode the turmoil of these events. “These aren’t polished portraits,” says the artist, “they are moments of witness. They invite the viewer to stay longer, to look closer. To see not just a face but the weight behind it.” Mortal Coil has a dramatic shift from dark to light with the face looking up and out of the frame. The wide open eyes are warily watching, seeking something outside but not confident about the potential encounter. Heavily weighted on one side, the composition conveys the emotional imbalance of the situation. A tipping point approaches.

In First Threads the oval face is presented left of centre framed by darkness. Details emerge from the mesmerizing moon-shaped visage: clammy skin, haunted eyes, drawn mouth, strands of hair carefully delineated. We view an image that is intentional, not decorative. These haunting portraits show the artist’s consummate drawing skills and infinite patience in what she describes as “a slow dialogue between material and surface.”

Interior photo by Chris Bone

​Artist Talk with Jeannette on January 17 at 1PM

Don’t miss this lively conversation with the artist. Her education and teaching background make her an excellent communicator. Sirois received a BFA from Concordia University in Montreal. She completed a Masters of Education at the University of British Columbia. Currently, Sirois teaches online and through Continuing Education at the University of Victoria. Public Funders have twice awarding her Catalyst Grants to revitalize her oeuvre and exhibition schedule. Future gallery locations for At the Table in 2026 include shows in Gibson, Salt Spring Island and Nanaimo.

Sirois is grateful to the Cowichan Gallery for seeing the value of her artwork and exhibiting Bearing Witness. She praises the curatorial leadership of Janine Duns and all the hard-working volunteers who helped to install and run the exhibition.

​Founded in 2017, the Cowichan Public Art Gallery Society is a volunteer-run organization that seeks to build a world-class art gallery in Duncan. While working toward their future gallery goals, the Cowichan Gallery has a year-round exhibition schedule. Concurrent with Bearing Witness: Art of Jeannette Sirois in the Lower Gallery, is Wayfinder: the Art of Will Julsing in the Upper Gallery, running until March 28, 2026. Community support is crucial to the success of CPAG. Please visit the website to find out how to donate, become a member, and support the gallery through volunteer opportunities. (Photo:Chris Bone)

​Website: www.cowichangallery.ca 
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History in Art degree and Public Relations certificate from the University of Victoria. 
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