I Have to Laugh, or I will Scream

Maeve Stinson

Exhibition

See it On Campus: Level 1

Underneath the stair case beside the Reliance Theatre.

Visitor Info

How do we begin to take care of ourselves when experiencing pain, physically and emotionally; grief for the people we lost, the parts of ourselves we misplaced, and the life we used to live. When trauma seems all encompassing, how do we tell our bodies to let go? 

We must allow ourselves to still feel the good and find ways to let the light in. Shifting your mindset to focus on the good things will allow you to be open to them. It will allow you to open the door when the good things are knocking. If you only focus on what’s wrong, you might not hear it. 

How do we lean on others? How do we allow intimacy into our lives when we want to run and hide? How do we open ourselves when we’ve spent more time being taught what it’s like to be abandoned than learning to be vulnerable? We must take care of ourselves, and the people around us, in order to heal. We must not cower away from love. We must reach out when we are in need. Find someone to hold our hand when we do not want to be alone in our mind. Romantic or platonic, we must never stop letting love in. 

We find ourselves wondering, is it karma? Is this some type of cosmic punishment for a life lived before mine? What have I done so wrong to be dealt this hand of cards? These are questions that will never be answered. So we find something greater than ourselves to hold on to. 

We must create in order to process our feelings, our grief and guilt, our pain. We do this to escape from the world, and to learn how to live within it. Our body holds onto our trauma, and it is up to us to find ways to cope with it.

This project is a collection of vibrant and fragmented bodily work depicting gestures of care and contemplation, illustrating the process of making meaning of the mud. This is me trying to find a way out when the only way is through.

I Have to Laugh, or I will Scream (Burnt out). Acrylic, aerosol, and burnt matches on un-stretched canvas. 37x31” 2025
Burnt out
Acrylic, aerosol, and burnt matches on un-stretched canvas.
37×31”
2025
I Have to Laugh, or I will Scream (She is in me). Acrylic, aerosol, and stickers on un-stretched canvas. 18x11.5” 2025
She is in me
Acrylic, aerosol, and stickers on un-stretched canvas.
18×11.5”
2025
I Have to Laugh, or I will Scream (Seeing Through). Aerosol on lace. 59x180” 2025
Seeing Through
Aerosol on lace.
59×180”
2025
I Have to Laugh, or I will Scream (Open Wide).
Acrylic, aerosol, and dried lavender on raw un-stretched canvas.
Dyptych, both 42x15”
2025
Open Wide
Acrylic, aerosol, and dried lavender on raw un-stretched canvas.
Dyptych, both 42×15”
2025
I Have to Laugh, or I will Scream (A Chocolate Easter Bunny).
Acrylic, aerosol, and stickers on un-stretched canvas.
24.5x22”
2025
A Chocolate Easter Bunny
Acrylic, aerosol, and stickers on un-stretched canvas.
24.5×22”
2025
I Have to Laugh, or I will Scream (Say a Prayer for Me).
Acrylic, aerosol, and stickers on plywood.
Dyptych, both 24x48”
2025
Say a Prayer for Me
Acrylic, aerosol, and stickers on plywood.
Dyptych, both 24×48”
2025
AN AVERAGE DAY
Video project, a 15 minute video detailing An Average Day played on a commodore 1702 monitor displayed on cinder blocks. Remote in front.
AN AVERAGE DAY
Video project, a 15 minute video detailing An Average Day played on a commodore 1702 monitor displayed on cinder blocks. Remote in front.
AN AVERAGE DAY
Video project, a 15 minute video detailing An Average Day played on a commodore 1702 monitor displayed on cinder blocks. Remote in front.
AN AVERAGE DAY
A 15 minute video detailing An Average Day played on a commodore 1702 monitor displayed on cinder blocks. Remote in front.
A triple layer gluten free vanilla cake with fresh raspberries running through it, raspberry coulis, white chocolate whipped cream, white chocolate chips, blueberry and raspberry buttercream with melted white chocolate and charcoal buttercream decoration on silver serving tray, knife, cup of forks, serving utensil, pink floral-patterned plates, displayed on plinth covered with red fabric.
Cut and served during presentation.
A triple layer gluten free vanilla cake with fresh raspberries running through it, raspberry coulis, white chocolate whipped cream, white chocolate chips, blueberry and raspberry buttercream with melted white chocolate and charcoal buttercream decoration on silver serving tray, knife, cup of forks, serving utensil, pink floral-patterned plates, displayed on plinth covered with red fabric.
Cut and served during presentation.
Shackled
Unknown object, plaster bandage, aerosol, heavy duty chain, and 3 S-hooks.
Chain is 120”, plastered object is 20.5×14.5”
2025

Clementines are a Happy Fruit (You are Still Precious, Despite how long it’s been since I’ve seen You)
Acrylic, aerosol, and stickers on unstretched canvas.
Left: 23×15” Right: 18×10.5”
2026
Broken seams 
Acrylic, aerosol, stickers, red thread, ripped nylons, and safety pins on canvas, beside acrylic and ink on paper.
Canvas: 36 ×24” Paper: 8.5×11” (ripped roughly in half)
2026
Four Walls No Sanctuary
20×40
Acrylic on Canvas
2026

Maeve Stinson

Maeve Stinson is a multi-media artist originally from Ottawa, Ontario and currently based in Vancouver, British Columbia. She is graduating this May from Emily Carr University of Art and Design as a visual arts major, primarily focusing in painting. Most of her work is done in acrylic paint and aerosol, however she works with many different mediums, often bringing her painting into the world of collage. She occasionally works sculpturally, and will combine different forms of media to create immersive installations.

Outside of school Stinson spray paints large scale murals, and has been involved in many festivals across the country including Trackside Paint Jam in Victoria; Work in Progress Festival in Hamilton, Ontario; Astro Arts Fest in Vancouver; and Bring the Heat Festival in Calgary, Alberta. She is the co-organizer of the annual Never Grow Up Graffiti Jam, a festival that takes place in Vancouver’s Downtown Eastside during the August long weekend for the last for 3 years. Each year, Stinson and her partner Kyle Shipman organize 65+ artists to paint an entire alleyway top to bottom, drawing in over 3,000 people through the alleyway each year. This is one of the ways in which she builds community in order to heal.

Stinson’s work often focuses around heavy themes, such as mental health struggles, grief, substance use, and other emotionally potent topics; she explores these themes through vibrant colors, complex textures, and incorporating found objects. Her work aims to show how complicated emotions are. Her recent work comes from a place of extreme hurt, and intense personal growth. 2025 was a catastrophic year, filled with lots of grief, physical pain, and a seemingly unending onslaught of small problems that would have seemed bigger had the big ones not been so immensely massive. After experiencing one of the worst years of her life, she has managed to become a more positive, loving, and gentle person. She processes trauma through her art and is soothed through intimacy with herself and with the people around her, and aims to build a community of collective caring by creating art others also going through tumultuous times can relate to. Her art is a study of reconnecting with one’s own self on a much more spiritual level, and finding ways to take care when everything is going wrong. It is all about expressing the hurt and the pain, but acknowledging that that hurt is not everything. The goal is to show that even in pain there is still love; even when experiencing grief, there are still beautiful days.

Seeking opportunities
Profile image of Maeve Stinson

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