Full article by Perrin Grauer: https://www.ecuad.ca/news/2021/2021-honorary-doctorate-emily-award-recipients#about-eve-tuck
Once, it happened when she cut into a salmon. Another time, it emerged while peering at the feather of a flicker she’d picked up off the ground.
For Coast Salish artist and designer Angela Marston (Statu Stsuhwum), inspiration isn’t turned up during a search. It’s arrived at through a process of paying careful attention to the world.
“The majority of the work that I do really reflects nature and the designs I see in it,” says Angela, who, as of November 2020, has been working as Aboriginal Programs Coordinator at Emily Carr University. “I was filleting a fish one time, and a design came through just from the way that I cut the fish. That’s mostly how my designs are created.”
This approach is evident in the Four Elements Healing Rattles series, one of Angela’s more widely shown bodies of work. (The set of four rattles is now part of the permanent collection at the National Gallery of Canada). Angela describes growing up on Vancouver Island as a time wholly occupied by attunement to the natural landscape.
“I spent many hours patiently waiting to see blossoms bloom, for the salamanders to come out from hiding, for the birds to fly overhead and berries to ripen,” she writes in an artist’s statement about the Healing Rattles. “I drank the rainwater off of the maple leaves, and ate the roots of ferns. I walked bare foot on pine needle trails that were soft and smooth. I swam in the rivers and the oceans. I caught trout with my brothers and took them home.”
This vividly painted account is at once an anecdote and a glimpse of the source-code behind the Healing Rattles. It also reflects her belief that human beings and nature are connected; that the one is a part of the other.
The keen awareness Angela describes hasn’t relented in the intervening years. Rather, it has expanded to include more of the human-centric world. Some of her work reflects this shift, as well.
Full article by Perrin Grauer: elemental-imaginings-angela-marston
Caribou fur, porcupine quills, sinew, cedar, glass beads, and hides for drum- and rattle-making. These are just a few of the many materials carefully packed into handsome bags and arranged on nearly every flat surface at the Aboriginal Gathering Place (AGP) at Emily Carr University.
These “material practice kits,” more than 50 in total, are destined for Prince George. There, they’ll be distributed to participants in a series of upcoming virtual workshops. The workshops are part of the ongoing Decolonizing Healthcare System through Cultural Connections project.
“It’s been really interesting trying to conceptually picture teaching and making drums and rattles without being together, without being there with our actual hands to support them,” Brenda Crabtree, Director of Aboriginal Programs at ECU and Special Advisor to the President on Indigenous Initiatives, says. “But we’re very connected with all the folks from the Prince George community — the elders and the Indigenous artists up there. So, this is a pilot project. Our first virtual pilot material practice workshop.”
The Decolonizing Healthcare project aims to transform Indigenous people’s experiences in the BC healthcare system. In BC, as in Canada more broadly, Indigenous people of all ages experience far poorer health outcomes than non-Indigenous people. This disparity is linked both to Canada’s colonial past and to barriers, including systemic racism, which continue to permeate its healthcare system.
Decolonizing Healthcare offers a leading-edge model for dismantling these systemic and historical barriers. The project employs Indigenous-led arts and material practice as an entry-point to encourage dialogue, relationship-building, and knowledge-sharing between Indigenous people and healthcare practitioners.
Brenda heads the project alongside Caylee Raber, Director of Emily Carr’s Health Design Lab(HDL). Decolonizing Healthcare first got the go-ahead in 2019 after receiving a Systems Change Grant from the Vancouver Foundation. It was initially slated to unfold over roughly three years. But the pandemic has forced the team to make adjustments on the run.
“It’s created challenges for us because we’re so used to the hands-on approach,” Brenda says. Conducting the material practice workshops virtually was not in the original plan, she notes.
“More than anything, we love engaging with the community. So this was new and challenging for us. But I think we rose to the occasion. We’ve been really innovative with the way we put together this programming and all the resources that go along with it.”
Full article by Perrin Grauer: meaningful-connections-with-prince-george-created-virtually-through-material-practice
If you’ve walked by the Wilson Arts Plaza at Emily Carr in the last couple of months, chances are you’ve noticed the giant screen projecting a video of an animated landscape evolving throughout the course of a day: a smiling sun gradually giving way to a shifty-eyed moon, followed by three people having a discussion over a campfire in an unfamiliar language. There are no subtitles to satisfy your curiosity as to what is being said. Instead, Cole Pauls (BFA 2015), the artist behind the animation, entitled K’ānäthät (Thinking), is inviting the audience to be an active participant rather than a passive spectator. “I want you to project your own thoughts into maybe what they’re talking about and what they’re discussing throughout the middle of the night into the morning,” he says.
Premiering last October, K’ānäthät (Thinking) is a project Cole was commissioned to create by the City of Vancouver’s Public Art Program for Emily Carr University of Art + Design’s urban screen. Since its inception, the outdoor screen, which is an initiative in conjunction with the Libby Leshgold Gallery at ECU, has shown the works of Barry Doupé, Dana Claxton, and Marina Roy, making Cole the latest in an illustrious line of notable artists to have been commissioned by the city.
After previously collaborating with the city on the artwork for a handful of utility boxes around Vancouver, Cole’s creation of K’ānäthät (Thinking) is a natural and inevitable progression. “I guess I developed a relationship with them [so] that they thought of me when they were inviting people to submit to this project because I believe that there were only five or six of us that were invited to pitch,” he says, adding, “And I just luckily was chosen.”
Full article by Perrin Grauer: cole-pauls-kānäthät-thinking-plays-on-ecus-outdoor-screen
In 2015, at the opening for her Nerman Museum solo exhibition, To Honour the Unidentified, artist Gina Adams was approached by a friend, who hung a gift around her neck — a Grover Cleveland 1885 peace treaty medallion.
“I immediately felt the weight of it,” Gina writes in a statement recounting the “life-changing” experience. Gina is descended from Ojibwa Anishinabe and Lakota peoples of Waabonaquot of White Earth Reservation in Minnesota, as well as from settler Americans.
“I felt the weight of the years that had passed since the medal was made, but most importantly, the weight of the fact that very little has changed in 135 years. The words on the back read ‘peace and friendship,’ but they are hollow. The promises of truth and honour the medals were supposed to represent were never kept.”
Peace treaty medals were given to “deserving Indians,” Gina explains, where “deserving” most often meant obeying U.S. government agents — agents representing a settler government which did not uphold the treaties it signed; forcibly removed Indigenous peoples from their ancestral territories onto reservations; and took Indigenous children from their family homes and placed them into residential schools, oftentimes never to return.
Gina, who is now an assistant professor at Emily Carr University, first became interested in the objects in 2013, after discovering photographs in the archives of the Spencer Museum in Lawrence, Kansas, depicting “chiefs of the plains” wearing the medallions. Having researched their histories in the years following, Gina drew on her Broken Treaty Quilts for inspiration.
Full article by Perrin Grauer: gina-adams-broken-treaty-medallions-help-create-change-through-awareness
A new exhibition of works by artist and ECU faculty member Christine Howard Sandoval at the Contemporary Art Gallery (CAG) explores the relationships between land, language, image and archive, according to exhibition co-curators Julia Lamare and Kimberly Phillips.
The show, entitled A wall is a shadow on the land, brings together drawings, adobe sculptures, and documents from both personal and public collections, as well as an installation at the CAG’s permanent satellite site, at Yaletown-Roundhouse Station.
“With A wall is a shadow on the land Howard Sandoval makes present Indigenous ways of thinking about space and time, and unsettles the archive through the act of embodied making, enlargement, recontextualization, and collage,” Julia and Kimberly write in their introductory essay.
“The stratum of material across spaces encourages multiple entry-points for interpretation, calls into question the use-value of the image, and resists the archive’s power to cement colonial pasts. Howard Sandoval’s act of archival dislodging and material reclamation is an utterance in unlearning history.”
Centre-stage in the CAG exhibition is Christine’s use of adobe — a composite of sand, clay, water, and straw or grass, used to make a “sun-baked mud brick.” Christine, an Obispeño Chumash and Hispanic artist, belongs to a family whose members include generations of women who worked as adobe brick makers.
This ancient and commonly used Indigenous building material has “become synonymous with the structures built by Spanish missionaries who colonized the Pacific Coast of the United States from the seventeenth century onwards.”
The large-scale wall works in A wall is a shadow on the land are created by drawing with masking tape on paper, and then applying a thick layer of adobe overtop. The masking tape is then removed before the mud can dry. A resolutely physical composition emerges, “at once quoting and flattening the elemental forms of the Spanish mission architecture vernacular,” Julia and Kimberly write.
“By rendering her images with the very building material of the iconic architecture, Howard Sandoval resists its colonial appropriation, reclaims its deep history and asserts a new visual language for its encounter.”
Full article by Perrin Grauer: christine-howard-sandovals-cag-show-an-utterance-in-
Multidisciplinary artist Skeena Reece will give an artist talk on Wednesday, Jan. 27, in support of her newly opened exhibition in Harrisonburg, Virginia.
The exhibition, entitled Honey and Sweetgrass, opens Jan. 25 at the Duke Hall Gallery. Works from across Skeena’s diverse practice will be on view, including performance art, videos, photography and installation works. The works advance Skeena’s ongoing engagement with “Indigenous culture, myth and humour,” and examination of “racial stereotypes and the effects of colonization,” according to the gallery.
“Skeena Reece is an important voice in contemporary art,” Beth Hinderliter, director of the Duke Hall Gallery, says. “She offers us insight into the care, compassion and strength of Indigenous women as well as giving us critiques of the violence of colonialism.”
Full article by Perrin Grauer: skeena-reece-artist-talk-to-accompany-honey-and-sweetgrass-exhibition
A new solo exhibition of stunning recent works by multidisciplinary artist Luke Parnell (MAA 2012) is headed to the Bill Reid Gallery.
Luke Parnell is Wilp Laxgiik Nisga’a (House of Eagles) from Gingolx on his mother’s side and Haida from Massett on his father’s side.
While Luke’s training has included a traditional apprenticeship with a master Northwest Coast Indigenous carver, his use of materials is “determined on a project-by-project basis,” according to OCAD University, where he works as Assistant Professor in the Faculty of Art. That open-minded approach to materiality is on full display in Indigenous History in Colour, which opens at the Bill Reid on Feb. 2.
Works in the exhibition include last year’s collaborative installation, Neon Reconciliation Explosion (2020). The monumental artwork combines 44 panels to form a Northwest Coast housefront in Nisga’a style. Viewed together, the works reveal a formline butterfly design. Each of the panels was painted by “55 community members with bright neon colours, in reflection of their own personal understanding of reconciliation,” according to the gallery.
Luke’s contribution, by contrast, stands stark at the centre of the work — an unfinished lumber doorway marked by the initials “TF” and “CB,” in memory of Tina Fontaine and Colten Boushie. (Fontaine’s body was found in Winnipeg’s Red River six years ago; a man charged with her murder was found not guilty in 2018. Her case was one of many that led to the National Inquiry into Missing and Murdered Indigenous Women and Girls. Boushie was shot and killed by Saskatchewan farmer Gerald Stanley in 2016; Stanley was later acquitted of charges in the case. Both verdicts sparked Indigenous-led protests nation-wide, calling for justice for the slain teens).
Full article by Perrin Grauer: https://www.ecuad.ca/news/2021/new-luke-parnell-solo-show-bill-reid-gallery
We at the IM4 Lab want to send our greatest condolences to all the family and friends of the late Taran Kootenhayoo.
At the start of this year, we lost a friend to many at the ECU: an incredible Indigenous artist, storyteller, a talented contributor to the film, art and theater communities.
Taran was an IM4 collaborator who moderated our first ever Indigenous Immersive Speakers Series, and a good friend and frequent artistic collaborator to our Operations Manager Colin Van Loon. IM4 is also preparing a podcast with Cheyanna Kootenhayoo hosting. The immense void left behind is present.
We want to acknowledge this loss. This extends to many communities and is felt ever so intensely by the Indigenous community here in Vancouver and across turtle island. Taran was a rising talent whose work had and will continue to inspire us. His spirit, humour and presence will have a lasting impact on all those who had the privilege to meet, work with and develop a friendship with him.
We send our loving prayers to IM4 team member Cheyanna Kootenhayoo and the Kootenhayoo family.
Rest In Power. Rest In Peace. Taran Standing Sunrise Jerry Kootenhayoo.
Emily Carr University of Art + Design is pleased to announce the appointment of Marcia Guno as the university’s new Vice-Provost, Students.
Marcia is from the Nisga’a Nation. Her Nisga’a name is K’amyuuwa’a. She is Laxsgiik (Eagle) and is from the House of Minee’eskw.
For the past six years, Marcia has worked as Director of the Indigenous Student Centre at Simon Fraser University.
“As I prepare myself for the amazing new journey ahead of me at Emily Carr, I carry with me my cultural values and teachings,” she says. “I am grateful for our traditional medicines and for opportunities to get out onto the land. For me, the land is a beautiful canvas, rich with art, history, language and traditional teachings for us all.
“I think of all the people who have come before me, to help strive for more inclusion and representation of Indigenous people and people of colour at all levels of educational institutions. I look forward to joining the Emily Carr community. I look forward to being in a smaller campus community, surrounded by creativity, innovation and diversity that is rich with cultural teachings.”
Full article by Perrin Grauer: https://www.ecuad.ca/news/2020/marcia-guno-appointed-vice-provost-students