[3] Black is best known for the REDress Project, an art installation that she created as a response to the Missing and Murdered Indigenous Women (MMIW) crisis in Canada as well as in the United States.
[3] Following her studies, Black taught at the Opaskwayak Cree Nation in The Pas, Manitoba, and developed an art curriculum for the Urban Shaman, an aboriginal artist-run center in Winnipeg.
Black's artwork explores themes of memory, identity, place, and resistance, rooted in an understanding of the body and land as vital sources of cultural and spiritual knowledge.
In 2009, Black witnessed a performance in Bogota, Colombia where 300 women whose family members were murdered or had gone missing gathered in the public square to draw attention to the problem.
Black was inspired by the public nature of the performance and aimed to channel that energy to make the critical matter of Missing and Murdered Indigenous Women in Canada visible both inside and outside gallery walls.
[20][19] The REDress Project is a public art installation launched in 2010 aimed at bringing awareness to the epidemic of Missing and Murdered Indigenous Women (MMIW) girls, transgender and two-spirit persons in Canada.
[22] The installation features empty red dresses displayed in public and land based spaces, symbolizing the violence faced by Indigenous women and serving as a reminder of those who are missing or have been murdered.
[4][9]The REDress Project is an initiative designed to address and challenge dehumanizing narratives about Aboriginal women by drawing attention to both their presence and absence within societal discourse.
[23]She describes this work as having a spiritual quality, suggesting it serves to call back the spirits of the women represented, allowing their stories to be told and remembered, thus promoting reflection and healing within affected communities.
Black shares personal stories and reflections from her REDress Project alongside the contributions of others, using their collective voices to advocate for justice and honour Indigenous women as guardians of land, culture, and community.
By exploring the spiritual connections to land and community, the piece emphasizes regenerative healing and the importance of shedding light hidden struggles to support future generations.
Produced in Manitoba, “She Draws a Circle” spans themes of Indigenous identity, activism, decolonization, spirituality, body, culture, community, landscape, and resistance.