Artist Statement

My work speaks to the modern presence of Native peoples in the Americas, and honours them in their resistance to colonial governance and industrial invasion. For example, the Freedom Fighter series of paintings is evidence of the fact that, headlines or not, Indian nations continue to assert themselves in their traditional territories. These adorned square canvas paintings acknowledge and honour our people, as they continue their traditions and work towards their goals. The Freedom Fighter series makes the declaration that our nations, our peoples, are actively engaged in the 21st century, across the western hemisphere. The series is ongoing, and currently over forty pieces strong.

The Constellations sub-series was borne out of the idea of contemporary widespread presence. An original piece (entitled Indians Are Everywhere) was an initial exploration and visual expression of the oft ignored fact that Indians are here and everywhere in North, Central and South America. It consisted of a stylized map, covered in stars representing communities. The Constellations series places on The Map contemporary First Nations urban, suburban, rural and rez communities and populations of the Americas, previously invisible (in varying degrees) to the larger North American and global population. Previously invisible to the Indigenous population, imposed and imaginary bureaucratic, provincial, state and national borders are removed. Our communities are placed in relation to the land and the rivers, occupied by First Nations for many years prior to the arrival of settler-states and non-indigenous map-makers.

The Et’óah Ło (Many Flowers) paintings are also map-based, having floral designs laid over topographic maps of southern Canada. The floral imagery refers to northern Dene and Metis artistic traditions, in which many members of my family are skilled, including my late mother. By drawing these flowers over Canadian representations of land, I’m claiming territory (outside of Denendeh) that holds memories and stories that belong to myself and my family, who have spent a significant amount of time in this southern country. (All acknowledgement to the heirs of Treaty 7 - the Kainai, Piikani, Tsuu T’ina, Siksika and Stoney.) These paintings are evidence on a personal level of First Nations continuance in contemporary North America.

The process of researching contemporary First Nations issues of resistance and presence is itself a form of resistance, and is integral to my work. My work is an extension of the learning process and a means of communicating this knowledge, this resistance, to others, within the realm of visual art. My language includes the use of collage, painting and drawing, and various decoration, which strives to reflect my personal visual history within our larger complex and blended North American history, from Plains and Dene visual traditions to Modernism to mass media to powwow.

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April 2009