I began the winter term of my final year at AUArts wanting to make large, naked Doukhobor women. I wanted to surround myself with generations of grandmothers whose identities were taken while their memories lingered within the flesh of my body. What developed from this longing to reconnect with my past was a figurative illustration that wants to move, interact, and challenge colonial environments, identity, and body standards. This figure is aware, and enraged, at the dislocation between the body’s memories and experiences of its ancestors and the colonial mind she was raised with. She withdraws into the generational, matriarchal structure of the Matryoshka doll to reconnect with her roots, heritage, and ancestors. Jennifer holds a BFA in Drawing from the Alberta University of the Arts. She is a Doukhobor descendant. The Doukhobor’s emigrated to Turtle Island in 1899 fleeing persecution from the czar. Jennifer’s family emigrated from present-day Azerbaijan. Jennifer currently resides on Treaty 7 land. Jennifer was not raised with the oral teachings of her ancestors due to the Doukhobor’s assimilation into Canada’s colonial setting. Many Doukhobor descendants are unaware of their heritage. It was Jennifer’s experience of being raised with a sense of displacement which eventually led her to her figurative Matryoshka doll drawings. It was only until I began looking into my heritage that I began to feel whole and comfortable in my skin. I feel I have a better understanding of how my body and mind fits and moves in the social and colonial settings of past and present.