folklore about the “Sasquatch”, or Big Foot (as it is often referred to in settler colonial states) has long been appropriated by the white Canadian mainstream. This appropriation can be understood as an expression of the racist fears around the “otherness” of Indigenous culture, and of nature. Ladies Sasquatch, then, has been interpreted by some as a commentary on the Indigenous myth of Sasquatch and the racist symbolic implications it has for settler colonial states, through which Mitchell re-imagines the myth through a decolonized and radical feminist lens. The giantesses both represent nature and do not exist apart from it. Ultimately, viewers may see the “Sasquatch” in Mitchell’s work as a figure embodying sexist tropes of queer bodies in regard to femininity’s ties to nature, through which Mitchell deliberately blurs the Western binaries imposed between nature and culture, man and woman, and celebrates queer feminist identity. “Fiercely animalistic”, Mitchell’s sculptures are constructed with taxidermic parts like shining glass eyes, wet-looking black nostrils and pointed claws, their mouths open to reveal bright pink tongues and long, gleaming white teeth. Still, there is a playfulness and humour to the work, with certain textiles being used by Mitchell to evoke senses of nostalgia and familiarity rooted in memories of home and childhood. This comforting quality invites the viewer into a physical relationship with the sculptures, whom they are encouraged to join by the campfire, to interact with, and to touch. “People walk in here, and they become part of this circle… implicated in the lesbian feminist separatist politics, regardless of gender” (Allyson Mitchell, interview). Mitchell’s use of textiles in making the pieces also works to disrupt Western, masculinized perceptions of art, specifically those surrounding sculpture as a medium: “the association of textiles with feminist practice works to trouble the viewer’s expectations of massive sculpture”. In her fabrication of Ladies Sasquatch, Mitchell simultaneously mocks and subverts the masculinity often associated with sculpture and other such fundaments of Western art. Rather than using the cold stone or metal typical to conventional sculptures that tend to be showcased in traditional art spaces, she purposefully selects textured, tactile, tufted and woven fibers with which to build the figures of Ladies Sasquatch. In doing so, Mitchell creates a sensorium that allows for the celebration of the radical politics of lesbian sexuality and community building. When encountering Ladies Sasquatch, the viewer is invited into a bizarre, beautiful and undeniably