Arthur Lismer, Tree Stump, B.C. Forest, 1951
“Everything was growing, growing, growing – everything had a song… There – a contrast in the depth of cedar grove, or pine and spruce bush – here – a merciless tangle of fallen trees and age-long struggle with the elements… Overhead, the heavy interlacing branches permit but little light to penetrate. Only here and there a shaft of light has caught the top of a rotting stump, and burns like a sacrificial fire in some huge primeval temple.”
Yellow Bear, 2010
Mikkigak is a printmaker from Cape Dorset.
“I enjoy doing colourful drawings, of people, animals, birds and especially the landscape. I used to enjoy hunting on the land, so that’s what I draw.”
Rebecca Belmore (Anishnaabe)
Rebecca Belmore often uses the body to address violence against First Nations people, especially women. The woman in Fringe assumes the same reclining pose as the beautiful odalisques depicted by nineteenth- and twentieth-century European artists, but bears an ugly slash from shoulder to hip. The thin rivulets of blood that run from the gash are composed of small red beads, a detail that evokes both Belmore’s Anishinabe heritage and the trauma inflicted on indigenous peoples. Despite the graveness of the woman’s injury, Belmore’s Fringe is also about healing. The wound is not fatal; she has the strength to recover. But the scar will never disappear.
I love Rebecca Belmore.
Feeling pretty jealous of Torontonians right now, Ai Weiwei is the best.