Akiktonz'a S'ni
I am of mixed Dakota, Ojibway, and European ancestry and was raised in an environment affected by the intergenerational effects of the Residential School. As an artist, I am interested in understanding how this trauma shapes relationships in my family. For my exhibition my artwork addresses experience of poverty, addiction, and loss of Aboriginal culture. Residential Schools were in operation in Canada for over one hundred years. Residential Schools have been operating in my family for my entire life.
I am utilizing beading, basket weaving, dreamcatcher technique, hide, and sinew to speak to the history of trauma. I value that this media was traditional to Aboriginal peoples and a ten thousand year history on this land. The tactile quality of these materials offers a history to my work. Many of these techniques were learnt from my elders. I am grateful to these elders and knowledge keepers who have helped me create and understand this work – Barb Blind, Julia Brandon, Frank Tacan, Roberta MacKinnon and my grandfather Mervin Demas. That act of visiting an elder continues to be important to my practice.
As an artist, I hope my work educates the viewer about what Aboriginal people have gone through. The use of the beading and my spirit colors show my learning and healing with culture. I received my spirit colors (red, green, white and grey) from elder Frank Tacan. I was told these colors help us to be in relationship to the land. Through painting, drawing, beading, and installation I am exploring my families and some elders’ personal histories with Residential Schools and how one can heal through exploring their Aboriginal culture. I am trying to avoid putting anyone’s personal trauma on display. The use of abstraction and realism lets me play with the idea of how to represent Aboriginal spirituality.
My art making process has been a stepping stone in my own healing journey. Creating this exhibition has also allowed me to investigate the injustices done to Aboriginal peoples and given me an outlet to channel my emotions into. Despite having difficulties, it has been cathartic and beneficial for me to make this work. Overall, I’m not trying to erase the past, but honor all children and families affected and show Aboriginal peoples perseverance.
(Cover Image: S’untokec’a Ska Wakan Winyan (Holy White Wolf Woman), Oil paint, beer bottle glass, Great Grandpa Peter’s belt, 2017. Photo credit: Serge Saurette.)
You Know He's A Buffalo, Bingo dabber, acrylic and pen on paper, 2016. Photo credit: Serge Saurette.
Barb Blind -Gordon Residential School, Acrylic, pen, fabric marker, beading on canvas, 2017.
Addiction Creature, Red willow and sinew, 2016.
Frank Tacan - Pine Creek Residential School, Acrylic, pen, beading on canvas, 2017.
Grandparents - Portage La Prairie Residential School, Pen, acrylic and beading on canvas, 2017.
A Story From Residential School, Chalk pastel on paper, 2016. Photo credit: Serge Saurette.
Hunger, Chalk pastel on paper, 2016. Photo credit: Serge Saurette.
Generations of Trauma and Grandfather Spirits, Beading, hide, sinew, and frame, 2016.
Remembering the Lost Hair, Fabric, 2016.
Lost Hair Goes Back to the Creator, Oil paint, feathers, human hair on canvas, 2016. Photo credit: Serge Saurette.
Lost Hair Goes Back to the Creator and Remembering the Lost Hair, Install shot, 2017.
Dad's Dreamcatcher, Metal hoop, hide, sinew, wooden beads, 2016.
The Children on the Inside and the Families on the Outside, side 1, installation, 2017.
The Children on the Inside and the Families on the Outside, side 2, installation, 2017.
The Destruction of All Residential Schools - Portage La Prairie Residential School, Oil on canvas, 2016. Photo credit: Serge Saurette.