Through bold paintings and AI projections, Shapeshifter immersed viewers in a journey of identity, change and resilience.

Shapeshifter, a solo exhibition by University of Saskatchewan MFA graduate Brody Burns, captivated audiences with its exploration of transformation, Indigeneity and artificial intelligence. Hosted by The 525, a non-profit art organization supporting Saskatchewan artists, the exhibition took place in Saskatoon’s River Centre Promenade from March 20-22. The final evening featured an artist walk-through with Burns and curators Hailey Weber and Rowen Dinsmore offering deeper insight into the thought-provoking collection.

Hundreds of people came to view the exhibition, filling the space with a palpable sense of excitement. The atmosphere was energized by the art, music and the community coming together to engage with Burns’ bold, colourful and immersive work.

The title of the exhibition, Shapeshifter, carries many different meanings for Indigenous communities. For Burns, a member of the James Smith Cree Nation, the concept represents a being capable of altering its material state—sometimes to cause harm, other times to change the course of someone’s life.

This theme of transformation is central to his work, not only through Indigenous storytelling but also through his incorporation of artificial intelligence. Burns used AI-generated projections to overlay some of his paintings, merging digital and traditional mediums to create an intriguing visual dichotomy.

“I kind of see AI as this shapeshifter itself, how it’s kind of changing technology, changing how we interact with it,” Burns explained. By casting AI onto his canvases, he immerses viewers in the present moment while reminding them of the growing omnipresence of technology.

The layout of Shapeshifter mirrored a transformative journey. As visitors entered, they began at a point of spiritual incarnation, represented by Spirit Box.

“[This piece is] about this person here kind of deciding that they want to come to Earth to try to change the course of history,” Burns shared.

One standout piece in this section, Benny Button, honors his cousin, who became a dancer and embraced traditional ceremonies.

“I painted this to honor my cousin because I saw him change his life around,” Burns said. At the time, Burns was struggling—finishing his seven-year university journey while dealing with family illnesses and tragedies like the James Smith stabbings. His cousin’s commitment to ceremonies provided him with strength and guidance.

“I felt like I had a role model to look up to now, instead of like, all this pressure being on me to finish school, to be this artist, to be the student. I felt like that was all gone.”

Moving deeper into the exhibition, visitors entered a section filled with challenges.

“As you go through the middle of the exhibition, there’s all these shape shifters, or these creatures called Skin Walkers, and they try to deter you from your life path.”

The painted Shapeshifters are visceral and haunting—figures emerging from darkness, nocturnal beings like wolves, moose and other creatures.

“Some of [the Shapeshifters] are more personal to me. Some of them are more generic, based on the stories that I’ve heard through ceremonies or just conversations with some of my elders.”

After navigating these obstacles, the exhibition reached a place of wisdom and resolution.

“We go through all these life choices and these trials and things that happen, and some of us are lucky enough to make it to the end and become elders,” says Burns.

His piece Learn the Knowledge Before They’re Gone emphasized the urgency of preserving wisdom from elders before they pass, while Born Again, Die Again illustrated the continuous journey of straying from and returning to one’s path.

Another powerful work, inspired by sociopolitical struggles, depicted an elder seeking protection from the buffalo spirit, praying for marginalized and oppressed communities. The piece served as a call to remember that harming others is harming the Creator, reinforcing themes of interconnectedness and responsibility.

Despite tackling deep and heavy subjects, Burns also weaves humor into his work. One particularly memorable painting was Mint Chocolate Edibles Will Turn You Into a Buffalo Boy.

“I was painting these really creepy shapeshifter Skinwalker beings and thought, ‘I need to lighten up the mood a little bit,’” he laughed. “So I painted that painting as a way of thinking, like, what if our ancestors were to take some of the THC chocolates that are available today?”

The AI projection added a psychedelic element to the piece, further enhancing its surreal and humorous impact.

After Burns walked guests through his works, curators Hailey Weber and Rowen Dinsmore reflected on how the space itself contributed to the theme of transformation. Dinsmore noted their initial concerns about the venue’s large windows, which allowed natural light to flood the space. Since projection mapping is most effective in darkness, the pieces looked different depending on the time of day.

“As day turned to night, we realized that the work literally shape shifts and further emphasizes the point of what we’re talking about here,” Dinsmore observed.

Weber highlighted the intentionality behind the exhibition’s design, particularly the suspended paintings in the weaving section.

“I feel like it’s a really strong way to represent the hardships, problems, difficulties that one might face with a really palpable intensity as they feel like they’re standing here in the room with you, suspended from the ceiling and not up against the wall, animated in a really interesting and 3D way,” she said.Although Shapeshifter is no longer on display, its impact lingers. Burns’ work, alongside initiatives by The 525, continues to push artistic boundaries and foster dialogue about Indigenous identity, technology and transformation. Keep an eye out for future exhibitions by these parties that bring powerful stories to life through art.