Menu
Exploring visual art and developing our techniques that will allow us to manage ourselves, create purpose, and find peace.
To push through our challenges and break down the stigma around trauma to further awareness and inspiring others.
Finding our common grounds and offering artists and creators alike a platform and resource to connect.
Maurina was born in Quezon City, Philippines and grew up in Ottawa, Ontario, Canada. She learned hand lettering, paper and fabric collage, and sewing at the age of seven. After dabbling in music and technical school, she studied Business Administration and Project Management. She served on boards of non-profit organizations, including aiding immigrants in settling in Canada. While recovering from two separate life-threatening incidents, a near drowning in 2010, and cancer diagnosis in 2016, she rediscovered her love for the arts. Her day to day work focuses on creative healing which reflects her love of crafting, art on paper and words. She currently resides in a growing community on the Southern part of Vancouver Island with her loving and supportive family, a boston terrier and morkie that keeps her busy, and connected to the world of dogs.
April 22nd to July 19th, 2022
July 2021
June 2021
May 2021
March 2021
November 2020
October 2020
September 2020
August 2020
December 2019
November 2019
November 2019
September 2019
August 2019
August 2019
August 2019
July 2019
June 2019
May 2019
January 2019
December 2018
Art of Adapting respectfully acknowledges the traditional territory of the T’Sou-ke First Nations, upon whose land we practise the healing process of art making.
Photo Credit: Elli Hart
Title
Reflection
Medium
Ink on Paper
I develop images that help to communicate challenging experiences and healing from trauma. Finding inspiration by examining nature’s lines and textures, my process usually starts with a quick sketch or collage using a variety of materials, cardboard, plastic, dried flowers, leaves, fabric and anything interesting to creatively reuse or recycle. The collaged plates are then sealed, inked up and printed on damp paper. I created part of the Reflection image series using collagraphs, an experimental form of printmaking.
I develop images that help to communicate challenging experiences and healing from trauma. Finding inspiration by examining nature’s lines and textures, my process usually starts with a quick sketch or collage using a variety of materials, cardboard, plastic, dried flowers, leaves, fabric and anything interesting to creatively reuse or recycle. The collaged plates are then sealed, inked up and printed on damp paper. I created part of the Reflection image series using collagraphs, an experimental form of printmaking.
Title
Flow
Medium
Ink on Paper
The Flow image series is created using an ancient Japanese marbling technique called Suminagashi. Sumi means Ink, Nagashi means floating. Originated in 12th century Japan, the oldest example is located in Nishi Honganji, Kyoto. Suminagashi ink is a type of hydrophobic ink used in calligraphy and book binding. It floats on the surface of water and creates interesting patterns.
I turned to arts as a complimentary therapy in 2013. Most of my art images presents itself in dreams, which I later express using mixed media, incorporating different art techniques. My hope is to communicate healing with those recovering from trauma. To encourage a greater sense of self-awareness during post-injury, resulting to the acceptance of the present and learning to live in the moment. Each brain injury is unique and with a dash of creativity, challenges can be overcome.
The Flow image series is created using an ancient Japanese marbling technique called Suminagashi. Sumi means Ink, Nagashi means floating. Originated in 12th century Japan, the oldest example is located in Nishi Honganji, Kyoto. Suminagashi ink is a type of hydrophobic ink used in calligraphy and book binding. It floats on the surface of water and creates interesting patterns.
I turned to arts as a complimentary therapy in 2013. Most of my art images presents itself in dreams, which I later express using mixed media, incorporating different art techniques. My hope is to communicate healing with those recovering from trauma. To encourage a greater sense of self-awareness during post-injury, resulting to the acceptance of the present and learning to live in the moment. Each brain injury is unique and with a dash of creativity, challenges can be overcome.
Title
Between the lines (Helmet Project for True Patriot Love)
Medium
Acrylic, Ink, Gold Metal Leaf on High Density Polyethylene Helmet
In dialogues and conversations, the truth can often be hidden in what is not said and what should have been said. “Between the lines” is an experimental project intending to explore the delicate and undefined space between spoken and unspoken words. This piece also asks the audience to contemplate how we are taking care of the people in service, but more importantly, how are we taking care of one another as a community?
The interlay of black lines with white letters symbolizes the confluence of communities in a time of turmoil and uncertainties. The representation of landscape created using the suminagashi technique and rough spray paint is interrupted by clusters of gold metal leaf to materialize the pockets and areas where boundaries get blurred. The helmet is commonly seen as a symbol for physical protection, but here, it is used to prompt questions such as how to safeguard soldiers’ mental health and promote better communication and understanding between different groups within the community.
In dialogues and conversations, the truth can often be hidden in what is not said and what should have been said. “Between the lines” is an experimental project intending to explore the delicate and undefined space between spoken and unspoken words. This piece also asks the audience to contemplate how we are taking care of the people in service, but more importantly, how are we taking care of one another as a community?
The interlay of black lines with white letters symbolizes the confluence of communities in a time of turmoil and uncertainties. The representation of landscape created using the suminagashi technique and rough spray paint is interrupted by clusters of gold metal leaf to materialize the pockets and areas where boundaries get blurred. The helmet is commonly seen as a symbol for physical protection, but here, it is used to prompt questions such as how to safeguard soldiers’ mental health and promote better communication and understanding between different groups within the community.
Title
Solitude of Fortress
Medium
Acrylic and graphite on canvas
We know the challenges our world is facing, and it requires us to be more understanding, compassionate and mindful. Most of all, I believe it’s asking us to be thankful. “Solitude of Fortress”, is my way of expressing how gratitude can transform a fearful and at times lonely situation. It’s asking the audience to contemplate what we’re thankful for when we’re confined in a place where it can be difficult to be in for a long period of time and in a place where joy lives. A place where it wants to connect to its form, to speak to its maker and it conveys belonging even in the darkest times. For light shines within a grateful heart.
We know the challenges our world is facing, and it requires us to be more understanding, compassionate and mindful. Most of all, I believe it’s asking us to be thankful. “Solitude of Fortress”, is my way of expressing how gratitude can transform a fearful and at times lonely situation. It’s asking the audience to contemplate what we’re thankful for when we’re confined in a place where it can be difficult to be in for a long period of time and in a place where joy lives. A place where it wants to connect to its form, to speak to its maker and it conveys belonging even in the darkest times. For light shines within a grateful heart.
Natural Transformations by Maurina Joaquin is an exhibition that explores the experience of trauma, brain injury and disability, as well as the layers involved in the healing process.
Maurina is a Sooke-based artist and has been exhibiting artwork since 2019 in Sooke and Victoria, with her practice focusing on themes of disability and healing from trauma through creativity.
In this series of work, Maurina uses various printmaking techniques, including Suminagashi, monotype and collograph printing, as well as embossing and collage, to create fifteen layered compositions that will be on display at theDock: Centre for Social Impact in downtown Victoria from April to July.
theDock is home to one of many satellite galleries operated by the Victoria Arts Council, a non-profit organization that has connected artists and communities since its inception in 1968.
“We are thrilled to be working with Maurina to bring this unique multifaceted exhibition to the public. Natural Transformations is exciting because it has the potential to affect many people as it brings awareness to brain injury,” said Leah McInnis, Outreach Coordinator at the Victoria Arts Council.
“I was drawn to Suminagashi printmaking as a way to cope with Post-traumatic stress disorder, from a near drowning in 2010 that resulted in brain injury,” Maurina explains. “Suminagashi is an ancient Japanese process that involves floating ink on the surface of water
to create marbled effects on paper, and using this technique has helped me heal my relationship with water.”
Creative Journaling Kits will be available at theDock during the exhibition, and were created by Maurina as an invitation for the public to engage in their own art-making practice, as an extension of the exhibition. These kits are free and include various materials with simple instructions for art journaling, with the hope of inspiring healing and creativity in those who take them home and utilize them.
Maurina’s intention with this exhibition is to advocate for the traumatic brain injury community and their families; to bring awareness of, and to bridge the gap between, traditional and complementary care that is available to those who sustain traumatic brain injury.
Maurina will be hosting two artist talks discussing her exhibition and its themes; both are open to the public and free to attend.
Friday, May 27th, 11am – 12pm (online)
Wednesday, June 8th, 2022, 11am – 11:30am (in-person)
We acknowledge the support of the Canada Council for the Arts
The Canada Council for the Arts contributes to the vibrancy of a creative and diverse arts and literary scene and supports its presence across Canada and around the world. The Council is Canada’s public arts funder, with a mandate to “foster and promote the study and enjoyment of, and the production of works in, the arts.” The Council’s grants, services, initiatives, prizes, and payments support Canadian artists, authors, and arts groups and organizations. This support allows them to pursue artistic expression, create works of art, and promote and disseminate the arts and literature. Through its arts funding, communications, research, and promotion activities, the Council fosters ever-growing engagement of Canadians and international audiences in the arts. The Council’s Public Lending Right (PLR) program makes annual payments to creators whose works are held in Canadian public libraries. The Council’s Art Bank operates art rental programs and helps further public engagement with contemporary arts through exhibition and outreach activities. The Council is responsible for the Canadian Commission for UNESCO, which promotes the values and programs of UNESCO to contribute to a future of peace, reconciliation, equity, and sustainable development.
