Sierra Weston (b. 1998, Vancouver, British Columbia, Canada) is an artist working between Montreal and Toronto. Her work explores themes of fragility, moral ambiguity, and memory through the mediums of sound and songwriting, puppet making, experimental printmaking, and animation.
Weston spent her adolescence in the California Bay Area, where she grew up doing both visual and performing arts. She earned a BA in Design and Art History at the University of California, Davis (2020) and an MA in Art History from the University of Toronto (2022).
In 2023 she was the Artist-in-Residence at PIX Film Gallery, Toronto, Ontario. In 2026 she was in the Video Artist-in-Residence at Struts Gallery, Sackville, New Brunswick. She has shown at the Durham Creative Arts Centre and PIX Film Gallery. She has written for Inter-Access Gallery, and published work with Necktie Art Journal and Intaglio Art Journal.
A significant collaboration in Weston’s art practice is the work made alongside Owen Kurtz as Sweet Lips. Together they create avant-pop music that weaves experimental recording processes with pop genre songwriting structures. They have opened for Eiko Ishibashi, Jules Reidy, Glissandro 70 and were performers in InterAccess’ 2025 VectorFest.
As Sweet Lips, Kurtz and Weston also create multi-media installation work which have shown at the plumb and 24 hr atm lotto in Toronto. They will perform at Send+Receive Experimental Music Festival in Winnipeg, Manitoba in the Fall of 2026 and have an upcoming full album, Sweet Lips Again.
Artist Statement
I build stories and sculptures from my experiences as a woman, my childhood spent immersed in New Age ideas on the California coast, and my penchant for the mythical and theatrical.
Sometimes I find what’s inside of me needs to come out. But once it’s out, where does it go?In my search to answer this question, I’m drawn to puppets, reliquaries, lucky charms, and tools, all objects with a purpose.
I’m curious about the ways that inner fantasy can bring us catharsis and how we impose our desires and biases into objects. If they could act from the accumulation of these feelings, what would they do?
My paper puppets are made with the mischievous purpose of exacting revenge on my behalf, ridding me of guilt and culpability and becoming emotional containers. They are acknowledgements of shameful sides of myself. I tell fables of emotional honesty with these puppets and artifacts, all set in my world of small and strange magic.