Due to construction on the Mohawk the building, the Woodland Cultural Centre Library will be moving into storage until the building reopens. Staff will be moving to the Museum and will be available by appointment Monday to Friday 9 am to 4 pm. Thank you for your patience during the restoration.
The Woodland Cultural Centre is seeking a highly motivated individual to assist in the Museum Education department. The role of the Education Outreach Cultural Interpreter will be to provide off site presentations and workshops based on the Haudenosaunee and Ongwehonweh culture.
Preference will be given to applicants of First Nations ancestry.
Research and become familiar with the Education Department, the Cultural Centre’s museum facilities, workshops that we provide and information of the Residential School.
Research and become familiar with the traditional lifestyles and cultural objects.
Become familiar and be able to present existing presentations and workshops
Research and create other presentations to address current First Nations issues.
Present residential school information sessions
Be able to conduct guided tours of the Centre; including the museum, art galleries, outdoor exhibits, facilitate craft workshops and all other supplementary tour activities; individually and cooperatively as may be needed.
Complete other tasks (i.e. clerical, craft preparation, etc.) as assigned.
Qualifications and Skills:
Possess good communication skills
Comfortable with public speaking
Possess knowledge of Residential School, specifically Mohawk Institute.
Have understanding of history of Six Nations and Haudenosaunee culture.
Reliable and demonstrate interpersonal and problem solving skills
Understand the social and political context of the Woodland Cultural Centre Museum, Education program and Art galleries to First Nations
A degree in First Nations Studies or equivalent work experience
Confident in Cultural knowledge an advantage
Ability to speak languages of the Haudenosaunee an asset
Must have own transportation
Monday August 21, 2017 at 3:00 p.m.
Contract Start date:
Monday August 28, 2017
Full-time yearly contract subject to the availability of funding
$15/hr. x 30 hours weekly
If interested, please send cover letter and resumé to:
Woodland Cultural Centre
184 Mohawk Street
Brantford, ON N3S 2X2 Attn: Lorrie Gallant
Note: Only those selected for an interview will be contacted.
Shelley Niro’s Battle of my Ancestors has arrived at Woodland Cultural Centre!
We are happy to announce the arrival of Shelley Niro’s work Battlefields of my Ancestorsthat will be installed along the driveway leading up to the Mohawk Institute Residential School until Thanksgiving weekend in October 2017. The arrival of 6 images currently on display at Ryerson University (April 28 – August 13) will complete the exhibition in late August.
Woodland Cultural Centre would like to thank Tom Hill, Lead Maintenance for installing this beautiful work. Thank you to the Museum and Arts Departments who have worked with Bonnie Rubenstein and Benjamin Freedman from Scotiabank Contact Photography Festival for making this possible. Thank you to Ontario Arts Council and Ministry of Tourism, Culture and Sport. For more than 30 years, multidisciplinary artist Shelley Niro (Mohawk, Turtle Clan) has chronicled the land of the Mohawks – part of the confederacy of Six Nations called the Haudenosaunee, or Iroquois. She has repeatedly followed her ancestors; migration route from Upstate New York, where she was born, to the Six Nations of the Grand River Territory near Brantford, Ontario, where she was raised, to photograph the regions that hold significance for her people. Niro has documented the sites of the Cayuga villages destroyed during the American Revolutionary War (1775 – 1783), and the environs of the Grand River that were subsequently deeded to the Six Nations. Her images point to unresolved land claims made by descendants of the Cayuga people, some of whom were sovereign allies to the British on Canada’s battlefields.
Niro’s photographs are presented here alongside the driveway to the Mohawk Institute Residential School – a place where many cultural traditions were taken from the First Nations people. The images speak to a highly contentious past and offer a different perspective on “official” narratives. While Niro’s installation commemorates lives and land lost in historic beliefs, it is also a call to action against ongoing injustice. The photographs taken in the United States are positioned in opposition to those taken in Canada.
Location: Woodland Cultural Centre (184 Mohawk Street, Brantford, ON)
Position: Outreach Coordinator
Hours: 37.5 hours per week
Rate of Pay: $20.00/per hour
Start Date: July 24, 2017
End Date: December 22, 2017 with the potential to extend one year subject to the availability of funding.
The Woodland Cultural Centre is seeking one highly motivated individual to assist with the Save the Evidence campaign. The Outreach Coordinator assumes responsibility for the Save the Evidence campaign. The Outreach Coordinator assumes responsibility for the Save the Evidence campaign, including the coordination and research of survivor stories as part of Phase 3 of the project. The Coordinator will be working in conjunction with the Executive Director, other WCC staff, and the Save the Evidence Advisory Committee to provide support for the Save the Evidence campaign and complete other duties as required.
Preference will be given to applicants of First Nations ancestry.
For full Job Description see download below.
If interested please send cover letter, resume and three letters of reference to: Woodland Cultural Centre, ATTN: Paula Whitlow, Executive Director, 184 Mohawk St, Brantford, ON N3S 2X2 or email@example.com. Deadline to apply is July 18, 2017 by noon.
Please Note: Only those selected for an interview will be contacted.
Join us on July 4th for a film screening and fundraiser for the Haudenosaunee Nationals women’s lacrosse team. All proceeds support the team competing in the FIL Women’s World Cup from July 12 – 22 in England!
Woodland will screen Spirit Game: Pride of a Nation
There will be traditional food, lacrosse teachings, and free giveaways! Activities start at 5PM, so get there early for best seating.
Quinn Smallboy, Featured Artist Quinn Smallboy is an MFA student at the University of Western Ontario (UWO). Born in Moose Factory, ON, he moved to London, ON to complete his BFA, also at UWO. Smallboy’s MFA thesis investigates what it means to be a contemporary, Indigenous artist.
Anthony Montana Adams is a 31 year old native from the Aamjiwaang Reservation near Sarnia ON. He studied in the Fine Arts program at Fanshawe College but has been drawing his entire life. After college he stayed in London ON, where he has gotten into painting a lot more in the last four years, and has starting selling his work at art, native crafts, and Powwow vendors throughout Southern ON, as well as through his business Facebook page. Montana’s preferred mediums for his pieces at the moment are Acrylic, Oil, Watercolour paintings and Charcoal drawings. Montana has also begun expanding his artistic talents into Tattooing, where the influence of his art flow into his tattoo pieces. Montana gains inspiration from pop art, or any abstract surrealism modes of art.
Thomas H. Anderson
Thomas Anderson is an aspiring artist from the Six Nations reserve. He is of the Gayogohono (Cayuga) nation and is from the turtle clan. His artistic journey started in the year 2012 and has kept growing more experienced with each year. Thomas is very inspired by his culture and traditions, as well as personal interests and this is apparent with his works. The preferred media of Thomas’ is graphite pencils as well as charcoal. Along with the multitude of drawings, Thomas had dabbled in; carving soapstone, pottery, and painting. Thomas seeks to get his name out to the public and draw attention to his works. He plans to keep his journey to inspire those around him and to speak to others of the rich culture of his people.
Aura (Monique Bedard)
Monique Bedard (Aura) is a Haudenosaunee (Oneida) artist who grew up in a small town in Southern Ontario. She has been deeply and passionately involved in visual arts for 13 years. In 2006, she began a formal study of visual arts at Fanshawe College in London, ON. After three years of studies in London, she moved to Lethbridge, AB to complete an undergraduate degree at the University of Lethbridge. She received her Bachelor of Fine Arts (Studio Art) degree in 2010 and returned to Ontario where she began instructing group art lessons with children, youth and adults. Monique currently resides in Tkaronto as an artist and workshop facilitator. She is also a Diploma Toronto Art Therapy Candidate working on the completion of a major project titled “Our Stories Our Truths: an Art-Based Storytelling Project.” Her art therapy practicum settings included: the Native Canadian Centre of Toronto, Youthdale Treatment Centres, Toronto District School Board, and Anishnawbe Health Toronto with an emphasis on art as healing. She is inspired by the healing journey: “I have the passion for community engagement, and collaboration where stories are shared through the art making process. It is my aim to empower people by focusing on our strengths. My goals is to build art projects that lead to a deep sense of understanding while connecting through the unity, collaboration and transformation.”
Michael Barber Michael has more than 20 years of graphic design, planning, and fabrication experience across a range of industries including tourism, advertising, small business, agriculture, professional and social services, and arts and culture. He works in several media, developing designs and applications for print, web, signs, garments, promotional materials, and more. A graduate of George Brown College, Michael is also an award winning mixed media painter and sculptor who has shown work across Ontario and the United States, including the Hummingbird Centre in Toronto and the Agora Gallery in New York.
Teyotsihstokwáthe Dakota Brant
Teyotsihstokwáthe is a mother, dancer, storyteller, gardener, educator, and an avid beadworker and regalia maker. She has travelled internationally as a cultural ambassador and speaking on issues spanning the Indigenous experience for over 10 years. Her artistic and career interests turned to modern fashion when she launched her lifestyle brand Sapling & Flint Designs along with her twin sister in 2014. Her designs have been run in fashion shows in New Mexico, Ontario, New York, Quebec and British Columbia. She expresses herself as a modern Haudenosaunee woman that finds strength and positivity through the vibrant stories and material wealth of her ancestors. She has a Master’s Degree in Community Planning from UBC, is noted for winning the title of Miss Indian World, and is a Laureate of the Indspire Award.
Janice Brant was born and raised in the Mohawk farming and fishing community of Tyendinaga on the Bay of Quinte. She sits with the bear clan and her traditional name is Kahehtoktha, “she goes the length of the garden.” Janice has been interested in art since childhood. She likes painting and working with natural materials such as clay, wood, vine, corn husk, and leather. She also enjoys looking at artwork and visiting with artists to learn and develop new skills and techniques. Gardening and cooking are other creative outlets that she explores with traditional Native food crops and seed stewardship activities. In many ways her interest in Mohawk culture, language and way of life guide and inform her art; paintings and sculptures. Janice began to show her work in 2010. She continues to live on the reserve and participate actively in the arts community.
Catherine Dallaire was born in 1979 in Kitchener, Ontario and currently resides in Waterloo, Ontario. She is Métis with roots in both the Kichesipirini band of Algonquin (Allumette Island) and the Weskarini band of Algonquin (Trois-Rivières). Her work has exhibited in several past First Nations Art shows at the Woodland Cultural Centre, as well as at joint and juried exhibitions at the Glenhyrst Gallery, Brantford, and at the Neilson Park Creative Centre with the Ontario Society of Artists. She has works owned by actor Adam Beach, singer-songwriter Susan Aglukark, and playwright & musician Tomson Highway. Her work has exhibited abroad in the avant-garde Art Basil LA, a counter-exhibit to the restrictive and exclusive Art Basilla. Her first solo exhibition, Inawendiwag: They Are Related to Each Other, was held in early 2017 at Wilfrid Laurier University.
Deron Ahsén:nase Douglas Deron Ahsén:nase Douglas is a Kanien’kehá:ka (Mohawk – Bear Clan) artist with roots in the Kahnawà:ke Mohawk Territory. Working with oils on canvas (although he has dabbled in stone and wood carving, clay, photography, water color, acrylic and print-making) he creates unique fine art inspired by his Kanien’kehá:ka culture. This culture he states, “…is an abundant source of creative expression” that helps him to entwine traditional values with contemporary subject matter. Working with bold colors, a crisp design and a unique sense of humour, he creates what he calls “a culmination of pebbles picked up along the path”. He continues to work within his favourite medium and signs his oil paintings with his Kanien’kéha name as he did more than 40 years ago. The artist is currently working on a group of paintings that examines Native North American/North American Indian/First Nations/Aboriginal/Indigenous/NDN identity, culture and perspective. His paintings can be found within private collections across Canada and the United States, as well as Australia. He has formal training in the fine arts (art history and visual design), photography, computer science, social science, education and is a member of the Ontario College of Teachers. Working with the York Region District School Board as an IndigenousArtist in Residence, he is given the opportunity to share his art, culture and oral stories to a variety of students from grades 1 to 12.
Elizabeth Doxtater is Mohawk Nation born and raised on Six Nations of the Grand River. Doxtater celebrates ‘Indigenous – freedom’ through her work as an Iroquoian: cornhusk sculptor, painter and author. Her work includes a set cornhusk dolls depicting the ratification of the Great Law; the Journey of the Peacemaker, and her (2016) book ‘Art of Peace’ demystifies concepts found within the Great Law of Peace. The Truth and Reconciliation Commission (TRC) released in 2015 identified 94 Calls to Action. In ‘Art of Peace’ Doxtater provides: Call to Action #95, ‘Let’s call upon ourselves…’ Doxtater has been recognized for the 2016 ‘Emerging Indigenous Artist’ award from Ontario Arts Council, 2015 Six Nations Community Scholar recognition and runs ‘Everything Cornhusk’ a small gallery/shop in Ohsweken. Doxtater also works with 6 youth artists from Six Nations called: ‘The Group of Six.’
Amanda Marie Flynn
A graduate of both Sheridan and OCAD, Amanda blends her fine arts training with her background in graffiti art and alternative media to create unique and colorful paintings. She works as a custom tattoo artist and has traveled the world to showcase her work, which has been featured in various international tattoo magazines. Her paintings and illustrations have appeared in the books GRAFFITI WOMEN: STREET ART FROM FIVE CONTINENTS and AMPHETAMINE HEART by Liz Worth. Her passion for the craft continues to push her in new directions both professionally and personally. Instagram: @diamanda Facebook: DiAmandaTattoo Website: www.telltalehearttattoo.com
Lorrie Gallant is a writer, illustrator, storyteller, visual artist and educator, born and raised on the Six Nations of the Grand River Territory. She is from the Cayuga Nation and the Turtle Clan. Lorrie is the author and illustrator of her own series of children’s books. She has coordinated and assisted in the creation and publishing of 8 books through intergenerational projects on Six Nations and 2 children’s books created by the children of Wahta Mohawk Territory and Tyendinaga of the Bay of Quinte. Lorrie developed 2 community arts projects with secondary students that created artwork exhibited at Mackenzie House Museum in Toronto, Nuit Blaunche Art’s Festival in Toronto, Scarborough Museum and Kitchener’s TheMuseum. Lorrie is the Education Program Coordinator at the Woodland Cultural Centre in Brantford and takes an artistic approach to reveal the rich culture of the People of Six Nations. She is the first woman and first Indigenous person to receive the Ontario Arts Foundation Artist Educator Award for 2015. BACKGROUND: Self taught EXHIBITIONS: First Nations Art 2009, 2010, 2012, 2013, 2014, 2016, 2017 COLLECTIONS: private and public collections in U.S. and Canada.
Yvonne Garbutt was born in 1964 and a Member of Curve Lake First Nation (Mississauga). She has an Honours B.A. at the University of Guelph and a B.Ed. at Queen’s University. Yvonne had exhibited at WHETUNG ART GALLERY, First Nations Art at Woodland Cultural Centre, Nogojiwanong Millennium, Peterborough Arts Umbrella, and the Protest Art, Artspace in Peterborough, ON. Yvonne also has collections at the Art Gallery of Peterborough, Curve Lake FN, AANDC Art Gallery, and Trent University. Her publications and programs include Artistic Collaborations, TVO, Environmental Action Magazine cover, Community Canada, Oxford University Press, and the L’echo des songes/Shamen Never Die, Les Ateliers Audio Visuels de Quebec/NFB.
Shel General Shel (Michele) General is Oneida Nation, Bear Clan of the Six Nations of the Grand River. Her Background of study includes Graphic Design, Applied Photography, and Creative Photography. Her exhibitions of work have been seen at Jamieson Elementary School, Six Nations Innovations, Healthy SixNay, Dajoh Youth and Elder’s Centre, and First Nations Art at Woodland Cultural Centre.
Kelly Greene, a member of the Six Nations Reserve in Ohsweken, Ontario, is of Mohawk, Oneida and Sicilian descent. Kelly was born in Buffalo, New York and has lived in London, Ontario since 1989 where she graduated from the University of Western Ontario with a Bachelor of Fine Art Degree. Greene’s artwork has been exhibited primarily at the Woodland Cultural Centre in Brantford, Ontario in their annual exhibit, “First Nations Art” as well as other projects, and she has two permanent outdoor installations on display here. Kelly’s also exhibited in galleries and museums in Banff, Vancouver, Montreal, Ottawa, Thunder Bay, Toronto, and London, Ontario. Her work is included in various collections in Ontario and the U.S. Her work focuses primarily on land claims and injustices of North America’s Indigenous people as well as current environmental conditions.
Jay Havens Jay is from Haudenosaunee-Mohawk and Scottish-Canadian ancestry and a proud member of the Six Nations of the Grand River, Mohawk Bear Clan. For the last 25 years he has lived on Coast-Salish and Haida territories specifically practising his craft in Sto:lo and Musqueam regions of Vancouver and the Fraser Valley.
Sehi:yo Char Hemlock
Charlene Hemlock’s Indian name is Sehi:yo. She is from the Cayuga Nation, Wolf clan and lives on Six Nations of the Grand River. Sehi:yo has three children and is currently studying the Cayuga language. She has been painting since she was young and after High School, she attended Emily Carr Institute of Art and Design. Currently, she works as the Urban Aboriginal Healthy Living Coordinator at the Hamilton Regional Indian Center and attends the Ogweho:weh Language Degree program, Gayogoho:no’, Six Nations Polytechnic on Six Nations Reserve. Sehi:yo’s belief in healing our people through language, culture and overall wellness comes through in her artist expressions. She focuses on creating pieces that relate to our stories and teachings and find that connecting to culture through art is very empowering and healing.
Anthony Henhawk is a freelance artist who has been exploring different artistic venues over the past twenty years. He started acting at the age of 11 in the Six Nations’ play “Chief Deskaheh” in which he played a young boy in awe of the legendary Chief. Following in the steps of his mother and older sister, also artists, Anthony participated in several group art projects and exhibitions at the Woodland Cultural Centre in Brantford, Ontario. After receiving a Graphic Design diploma from Mohawk College, and diploma for Video Game Development from George Brown College, Anthony pursued a business career at Rogers Communications. He continues to explore his creative side by writing, painting, photography, and graphic design.
Judi Henhawk-Sault Judi Henhawk Sault is from Six Nations, Turtle clan of the Mohawk Nation. She has enjoyed working with clay along with her sister in law, who gave her lessons in this craft years ago. She enjoys decorating her pieces with her Haudenosaunee culture. It has led her to many interesting places to showcase her artwork.
Barbara-Helen Hill In addition to being a published author Helen is a mixed media/textile Figurative Artist creating one of a kind Art Dolls and illustrations for books in addition to wall hangings. She is the cover artist for Shaking the Rattle, Collective Consciousness and Peacemaker’s Lullaby CD. Helen returned to school at the wonderful age of 48 and received an Associate’s Degree in Creative Writing and Fine arts from the En’owkin Centre in Penticton, British Columbia and then went on to get her BA with a Special Major in Native American Aesthetics/Creative Narrative and Visual Arts from SUNY at Buffalo 1997 completing her Masters Degree in 2000 from SUNY Buffalo.
Ronnie Hill was born January 31, 1996, in Brantford General Hospital and currently lives in Six Nations Reserve. She is working towards a diploma for Graphic Design at Mohawk College in Hamilton, Ontario. While learning how to use a digital platform for art, Hill also enjoys to use acrylic paint for most of the completed artworks. Hill is eager to try various techniques and design theory to get a positive message out in the world that can result in great social change.
Ted J. Hoffie is an Anishnaabe student enrolled in the Indigenous Visual Culture program at OCAD University. His work explores the cultural diversity of Turtle Island. His artwork ranges from photography to painting and drawing to comics that are influenced by American and Japanese animation and illustration. He is currently expanding his photography skills by exploring the streets, alleyways and lights of the city of Tkaronto.
Mary Jacobs Mary is a Seneca Nation, Turtle Clan beadworker from Collins, Ny. Her past exhibits and awards include: Fennimore Art Museum – Beaded Hat in archives, Ganondagan Art / Culture Center – Beaded jewelry box permanent exhibit, NYS Fair Indian Village – Second place Beaded Baby Bonnet, Burchfield Nature Arts Center – Annual Native Roots Artist Guild exhibit, and Cayuga Museum – Biannual Native Roots Artist Guild exhibit.
Samantha is a Seneca Nation, Turtle Clan beadworker from Collins, NY. She has exhibited works and received awards at the Seneca Nation Fall Festival Art Show, New York State Fair Indian Village, Seneca Allegany Casino and the Seneca Iroquois National Museum.
Keitha Keeshig-Tobias Biizindam is an artist from Neyaashiinigmiing Chippewas of Nawash Unceded First Nations. Keitha grew up in the budding Native arts community in Toronto and graduated from the Arts Program at Central Tech and has a BSc from McMaster University. Keitha has mainly done small commission pieces over the years for family, friends and band programs. Now, Keitha has turned her energies to creating a large body of work and it is just pouring out of her.
This professional artist graduated in April 2010 with a Fine Art Advanced Diploma from Fanshawe College in London, Ontario. Clayton has painted predominantly with acrylics, but works with other mediums like photography, sculpture, graphite, traditional First Nation’s crafts, and he also performs as a Northern Traditional Pow Wow Dancer. He has displayed his art in five solo exhibitions and twenty seven selected group exhibitions since his studies. Clayton contributes in the education sector in Simcoe County by doing First Nations painting and cultural interpretive workshops that help bridge an understanding of First Nations art and history to native and non-native students alike. Born and raised in St. Catherines, Ontario, Clayton has been a resident of Barrie, Ontario since the fall of 2011. He has also been running his business ‘White Bear Art’ since that time as well. Clayton Samuel King is of Potawatomi descent and is a member of Beausoleil First Nation.
Chief Lady Bird (Nancy King)
Nancy King is a First Nations (Potawatomi and Chippewa) artist from Rama First Nation. Her Anishinaabe name is Ogimaakwebnes, which means Chief Lady Bird. She has completed her BFA in Drawing and Painting with a minor in Indigenous Visual Culture at OCAD University and has been exhibiting her work since she was 14 years old. Through her art practice, she strives to look to the past to help her navigate her Anishinaabe identity whilst living in an urban space as well as advocate for Indigenous representation as an integral aspect of Canada’s national identity. She addresses the complexity of identity through the use of contemporary painting techniques; woodlands style imagery, photography, digital manipulation and traditional Indigenous craft materials and often works with at-risk youth to ensure knowledge and skill sharing/development.
Born in the beaches of Toronto, Ontario, Paul Kohoko is a self-taught artist from the Algonquin First Nation of Pikwakanagan, Golden Lake and of the Thunderbird Clan. He has worked in multiple mediums through the years including acrylics, pen and ink. In accordance with Anishinaabe tradition, self-taught artist Paul Kohoko naturally adopted the woodland or/ legend or medicine painting. He has since done a great volume of works throughout the years in Toronto and surrounding areas through private commission. Paul now makes his home with his wife at Six Nations of the Grand River territory where he continues to pursue his passion of art.
Patrick is a Mohawk from the Six Nations of the Grand River Territory in Ontario, born in 1956. His interest in art began at an early age in elementary school with charcoal and pencil on paper drawings being entered in the Ohsweken fall fair competitions. Patrick is a self taught artist with interest in pen and ink, graphite on paper and charcoal drawings which reflect his native culture and background. Although he dabbled in arts over the years, his artistic flame was rekindled in recent years with the birth of his first grandchild who he started drawing pictures for when she came for visits. Along with a renewed passion to do more art work, his retirement in 2015 after 32 years also allowed more time to refocus his artistic desires.
Mark Kenneth Neal born March 24, 1981 in Phoenix, Arizona. He was raised in North Tonawanda New York before finding home in Tyendinaga, Ontario at 19. Mark is of Mohawk heritage and has always been very intuitive and gifted in art. Throughout his childhood and teenage years this only became more apparent as he practiced and honed his talent earning multiple awards and public recognition and was chosen to design the trademark logo for the Aboriginal First Nation Public Libraries of Canada. Mark draws inspiration from his very large and supportive family. Mark dedicates himself everyday to learn and grow to always be a better artist. He challenges himself to paint new subjects with new techniques and mediums but always strives for the true life realistic quality artwork he has become known for. Mark uses every avenue available to him to mature further with his talent and has made friends and mentors in his pursuit of knowledge like world renowned wildlife artist Robert Bateman. Mark has his artwork displayed in multiple galleries in both Canada and the United States. He has been featured in magazines and newspaper articles and spoken about his talents and personal techniques at local art shows and colleges. Through his partnership with a publisher Mark has sold limited edition prints around the globe. Mark also takes on commissioned pieces painting family portraits and pet photos and using his ability to give true life beauty on canvas to favourite photos. Mark maintains an active facebook page where he shares his art at various stages, shared techniques and advice, and answers questions to share as much of his talent as he can with the world as he himself continues to grow.
Holly Pichette Holly Pichette is a woman of Swampy Cree and French Canadian ancestry and the proud parent of her 7-year-old son, Phoenix. She is a self-taught multi-disciplinary artist with over 15 years of experience painting and creating beadwork. Following her passion for visual arts she moved to London, ON in 2014 to pursue formal training. She recently graduated from Fanshawe College with an Advanced Diploma in Fine Arts. That same year she was part of a group exhibition, ‘Pushing Back, where she displayed a series of life size road signs sculptures that address issues of privilege, land and water right and environmental racism. She was born and raised in Cochrane, a small community located in northern Ontario. She currently lives in London Ontario and plans to continue pursuing a career working as a professional artist.
Karalyn Reuben is an Urban Mixed Cree-Ojibwa German-British Artist, born in London Ontario. She lives in Toronto Ontario and is studying at the Ontario College of Art and Design University in the Indigenous Visual Culture program. She previously attended the Nova Scotia College of Art and Design University in Halifax Nova Scotia where she specialized in printmaking and graduated with a BFA Interdisciplinary in 2013. Through her work she seeks to connect with the viewer on an emotional level. Her works are investigations of existence and self-awareness, and are a hybridization of historic and contemporary imagery. She is drawn to responsibility to share how she thinks and feels in hopes in connecting with others in her search of herself. She is a resilience Indigenous Woman reclaiming her Indigenous identity and knowledges through learning of Indigenous Art, Material Culture, Histories and Issues and with conversations with her father of their language and ways of living.
Nelson White is an artist & illustrator who was born in the small community of Flat Bay, Newfoundland as a member of the Qalipu Mi’kmaq First Nation Band. His father is a respected elder who was recently awarded the Order of Newfoundland for his lifetime of lobbying for the rights of Mi’kmaq in the province. Nelson attended the Visual Arts program at the then Bay St. George Community College and later the Nova Scotia College of Art and Design. After a brief career in advertising, Nelson had a long career in administration both in professional sports and later non-profit. During that time he continued to paint and draw while focusing on commission and one off projects. Over the last number of years, Nelson has become a working artist with his pieces exhibited frequently throughout Canada in both group and solo shows. His work can be found in several private and public collections. Nelson currently lives in St. John’s, NL with his wife Barbara, his daughter Rebecca, an English bulldog named Higgins, Sami the cat and several fish.
Clayton Windatt Born in St. Catharines, Clayton Windatt has lived in the Northeastern region of Ontario for most of his life and is a Métis Multi-artist. After working as Director of the White Water Gallery Artist-Run Centre for seven years, he now works as Executive Director of the Aboriginal Curatorial Collective and as an independent curator. Clayton holds a BA in Fine Art from Nipissing University and received his Graphic Design certification from Canadore College. He works actively with several arts organizations locally, provincially and nationally on committees and boards of directors, including working with the National Arts Service Organization planning committee, Visual Arts Alliance, and CARFAC Ontario. Clayton maintains contract positions with various theatre programs and works as a critical writer and columnist for various newspapers and magazines. He works with the ON THE EDGE fringe festival, the Future In Safe Hands Collective, the Blood Teeth Bones Collective, and currently works with Business for the Arts as a Mentor in their ArtsVest program. Clayton works as a community artist, an events coordinator, a writer, designer, curator, performer, theatre technician, and consultant, and is an active visual and media artist.
Elliott was born Mohawk/Ojibway in Sudbury, Ontario and grew up on Six Nations Reserve on Stoneridge Corner across from Hook’s Store. After a whole bunch of schooling he ended up with and HBFA and Bed/OCT. Greatest hits so far, worked the 2010 Olympic Winter Games in Vancouver, BC., and Coca-Cola, He has also received an Aboriginal Youth Achievement recognition award in 2007. Elliott was fortunate enough to be the first male Aboriginal to ever receive the Northwestern Ontario Visionary Award, “Top 20 under 40,” through the Thunder Bay Chamber of Commerce (2012). He recently received the Thunder Bay Arts & Heritage Award for Artist of the year 2014 and currently working on a graphic novel series due to be released in the next year. Elliott currently teach Arts and Culture education throughout the city of Thunder Bay and the Northwestern Ontario region. Elliott was born Indian and be Indian until the end.
Quinn Smallboy, Featured Artist My current practice investigates Indigenous art and its relation within Western ideologies. Areas of interest I explore within Indigenous art is where does it fit into the contemporary field of art? My latest work explores common symbols of Indigenous cultures and traditions from the traditional hand drum of the powwow to intricate string work. My work in some case are large scale webbings of string, to small hand drum size. My work is also seen on an abstract level that explores a balance between lines and space. Shaping a space, I employ the use of the line represented by rope or string. The characteristics in which I use the material help me build a based or a platform in which I assemble multiple lines of conversion to animate a void.
Aura (Monique Bedard) I am inspired by storytelling and the healing journey, individually and as a community. Currently, I combine painting, drawing, beadwork, image transfers, and collage to examine stories that are connected to the mind, body, and spirit. I aim to address the pain of intergenerational trauma and intergenerational healing to communicate experiences from inside out. By unearthing my own stories, this experience is ultimately part of the healing journey. My newest series is titled, Alwelyá’ne | Kayá’tale (My Heart | Portraits). There are so many times people in our communities are misrepresented or seen in a negative light. It is my goal with this series is to create portraits of people in a good way. Chief Lady Bird said that I put “emphasis on individual truths, reclamation of our identity, sovereignty over our bodies and emotions, and the importance of love,” which is my intention. I also give people the option to share a story or quote that ultimately becomes the caption. Too often, other people decide what our stories are and I want my art to serve as a platform for people to reclaim their stories. Website: www.auralast.wix.com/auralast
Michael Barber My works deal with examination of dark realities that are rarely spoken. Memories and thoughts are never clear and my paintings reflect the layers that hide or protect our past, the things we cherish and the things we’d love to forget. Quite often in life, things that are out of our control have such impact on our lives, not physically really but emotionally, things that we will carry with us forever. The good and the bad both weigh us down and fill us up, to the point that there’s no room left. Then one day, something happens that forces you to shift things, reposition and prioritize the weight to a more manageable point for the time being. I paint on mahogany plywood and use a mix media approach. Resist techniques are used with the paint application. Gouging and scratching is done with various hand tools, shovels and hoes are used to scrape the work and expose the earlier layers to create a sense of time. Images are applied to the work by using a very primitive printing technique and manipulating the cut after various applications. The creation of a piece is a very physical activity. I get lost in the painting and struggle between layers, caught in a dilemma of exposure and protection. It’s an exhausting process and yet I find it so satisfying. Taker It was about 2 a.m. when I got the call that Gramma B wasn’t going to make it through the night and I should come to the hospital to say goodbye. When I walked into her room and stood beside her bed, she began speaking to me in a language I’d never heard before. I couldn’t understand a word she said, she was speaking through tears. When I left her room, the emptiness I felt was unimaginable. Gramma B survived the Mush Hole. She never spoke about her experience. I heard she was punished for speaking her language. The sculpture is called “taker.” The message across the face is written in Mohawk, it means “ I love you Gramma.”
Teyotsihstokwáthe Dakota Brant May Their Journeys Be Gentle. By age nine tótah had run away from the Mohawk Institute three times. The first time was home to his mother, who put him in a car and sent him back. The second and third time he and two buddies hopped the train trying to get to Kahnawà:ke where one of them was from. His Kahnawà:ke friend had plans for them all to be taken care of and raised by his father if only they could get to Kahnawà:ke. Each time my tótah told me they got as far as Tyendinaga before they were caught and brought back. I can’t imagine a 9 year old today having the capacity to get as far as Tyendinaga by themselves twice, or what would compel them to, or what did it take for my tótah to lose such trust in his own mother that he never tried to go to her for help again. It wasn’t until late in life just before he passed that his reports of being molested in school for years were exonerated in the court system, backed up by the testimonials of other male residential school survivors who suffered at the hand of the same teacher who would die without ever spending a day in prison.
Our tótahs survived residential school in more ways than we can count. I think back at his 7, 8, 9 year old self in council with his little buddies, planning their next run. We hear reports today and face the reality that many of those babies who ran died along the way, just trying to get home. I am a new mother, and seeing my own baby, knowing we are alive today because my tótah survived, I understand more the anguish a parent had to go through, to be told that because of the race they were born into they have no legal responsibility, authority or right to maintain their own childrens’ safety, health and wellbeing.
In the end we all go home; but for some it is home to the arms of the Creator, not their mother. My piece is in honour of those babies who never made it home. It’s in honour of the broken relationship my tótah had with his mother for the rest of his life. The Haudenosaunee Creation story tells us that the path to the Skyworld is strewn with strawberries left by Skywoman as she fell from the hole in the sky to the Waterworld. In our Baby Naming Ceremony we are explained that each baby comes to this world with gifts and talents that we will have to good fortune to witness. The vamps I left empty, because I felt empty when I wondered what gifts and talents our world never got to witness. I call the piece “May Their Journeys Be Gentle” because gentle is how I describe the love my baby has brought me, and the love I believe we all deserve.
Janice Brant Grand Flower
Grand Flower is an original acrylic painting on canvas, January 2017. The idea came from designing seed packets to share with other Mohawk and Haudenosaunee seed keepers. The packages were unique in that Mohawk language was used. I began to look at seed packages new and vintage. What information was included on the packages? What kind of art and images decorated them? I discovered that some vintage seeds packages and advertisements had images of Native people, most often the Chief in the War Bonnet. This painting shares similar characteristics with what might appear on a seed package or ad with a contemporary sentiment in which we are reclaiming our traditional food crop and calling them by their original names.
Jennifer E. Brant
On the Journey
The inspiration for this piece came from my two daughters. They each had made small versions of the Great Tree of Peace with coloured clay. One had made a white canoe and talked about the Peacemaker’s journey. While creating the art, I was thinking of the Peacemaker and his journey from our community here at Tyendinaga to the other nations of the Haudenosaunee.
My work blends elements and teachings from Woodland art/Anishinaabe art & culture and subject matter with contemporary realism techniques and subjects. Each piece aims to create synergy and harmony between these two different stylings as a visual effort to build and maintain a balanced and peaceful relationship between my Anishinaabe and European ancestry. Many of my pieces strive to call to attention the importance of our connection to everything in nature, and respect towards it and all our relatives, particularly animals, plants and insects that are overlooked or whose importance and teachings have been altered by colonial attitudes and viewpoints.
Deron Ahsén:nase Douglas Deron Ahsén:nase Douglas works with oils on canvas (although he has dabbled in stone and wood carving, clay, photography, water color, acrylic and print-making) he creates unique fine art inspired by his Kanien’kehá:ka culture. This culture he states, “…is an abundant source of creative expression” that helps him to entwine traditional values with contemporary subject matter. Working with bold colors, a crisp design and a unique sense of humour, he creates what he calls “a culmination of pebbles picked up along the path”.
Art is our stories and our medicine. When we didn’t have a written language we had art to express ourselves. Our songs, our music, our dance and our art created a map for us to follow. As indigenous people we understand there is a tremendous responsibility when we create art. We are not just making it for ourselves, we are narrating our history, illuminating our story, and recording the journey of our souls. Our art is imbedded with instructions from our ancestors. It will help us to understand how the world came to be and guide us through the complexities of life. Art provides us with a story not yet finished. As a nation of people with roots deep into Mother Earth we must pick up the trail left by the ancient ones and the cycle continues as we leave a map for others to follow.
Yvonne Garbutt Both design and content are equally important in my work. I enjoy exploring colour, texture and shape-constructing and building form with paint. Incorporating found objects- craft items may seem to support humour in the work, but it primarily honours the craftswomen in my family. The content often deals with family history, issues of identity, politics, and the environment. Language has always been another element that I have incorporated in my art. Text figures prominently. I am a student of Anishinaabemowin. There is often a narrative element evident. Indigenous culture is an oral tradition and in my art, I can relate and interpret the stories passed down to me by my grandmother.
Tsityonnhe (We Are Still Alive) Canadian Flag Fancy Shawl This fancy shawl’s Mohawk words written atop the Canadian Flag are to celebrate that “Our language and culture/traditions are still alive. We are still alive!”, despite all that was attempted by the government and church. I have a strong desire to one day learn this language of my Grandmother. The white and purple ribbons sewn at the top and bottom of the flag represent the Two-Row Wampum Belt that was taken to treaties to signify the courses of two vessels, a Haudenosaunee canoe and a European ship, traveling the river of life together, never to interfere with the affairs of the other. This has not yet been respected, as most land was taken and people removed by various tactics with little or no compensation. However, I look forward to when the treaties are honoured. As well, I’m hopeful a wonderful fancy dancer will one day bring this shawl to life, and the fringe will swirl and bounce to the music of the singers and drums.
Jay Havens Jay is from Haudenosaunee-Mohawk and Scottish-Canadian ancestry and a proud member of the Six Nations of the Grand River, Mohawk Bear Clan. For the last 25 years he has lived on Coast-Salish and Haida territories specifically practising his craft in Sto:lo and Musqueam regions of Vancouver and the Fraser Valley. For the last 15 years I have worked as a freelance designer, artist in residence, and educator. As a multidisciplinary artist, Jay finds himself employed in the areas of contemporary art and curation, art based education with elementary-post secondary students, mural making and scenography (stage design and production). Jay has a Bachelor of Applied Art at Emily Carr University of Art + Design (‘16). Jays work attempts to questions tradition and contemporary Indigeneity through material investigations and process of making. Instagram: jay.havens Website: www.jayhavens.me
The Little Dipper I had a collection of faces from Steve Smith and while wondering what to do with them I saw the faces as representing the stars of the Little Dipper. As in the other quilt “They Danced into the Night…” The Iroquois tell this story about the Little Dipper: There were once eight little Indian boys who were great friends. Every evening they came to a little mound to dance and feast. They would first eat their corn and beans, and then one of their number would sit upon the mound and sing, while the others danced around the mound. One time they thought they would have a much grander feast than usual, and each agreed upon what he would bring for it. But their parents would not give them what they wanted, and the little lads met at the mound without their feast. The singer took his place and began his song, while his companions started to dance. The singer told them to not look back. As they danced they forgot their sorrows and “their heads and hearts grew lighter,” until at last they flew up into the air. Their parents saw them as they rose, and cried out to them to return; but up and up they went until they were changed into the seven stars of the Little Dipper. The one little boy who looked back became the falling star.
The Bear and the Big Dipper I had faces made by Steve Smith and envisioned them as part of the story of the Big Dipper.
Bear is being hunted by three warriors named after birds, Robin, Chickadee, and Cowbird, as represented by the stars of the handle of the Big Dipper. These three stars are sometimes referred to as ‘the hunters who are always hunting’. As Bear awakens from hibernation in the early spring, she leaves her Den in search of food and starts eating everything. The people are starving so the Hunters tell them they will kill the bear. They spot her fresh tracks in the snow and begin the pursuit. Bear is stalked by the Hunters throughout the spring and summer, slowly following her up thru the sky country and back down the other side. In late autumn, the Hunters finally catch up to Bear near the bottom of the sky country, close to the Earth. Bear rises up on her hind legs to fight the Hunters, but Robin takes careful aim and shoots her with an arrow and Bear falls over dead on her back. Blood from Bear’s wound sprinkles down on the forests of the land below and stains the leaves red. This is why tree’s leaves change color in the fall. Some of the blood stains Robin’s chest, and this is why these birds have red breast today. Bear’s spirit has already entered another Bear hibernating in her Den in Corona Borealis. In the spring, she re-awakens and leaves her den. Once again the hunt begins anew, repeating each year for all eternity.
Mary Jacobs My beadwork has evolved over the years from simple daisy chains to raised beadwork collars and cuffs. I started learning from my grandmother as a teenager and has continued to learn new techniques from the elders in her community. I enjoy beading and take pleasure in watching her creations take shape. Most of my creations are wearable and reflect the world I live in. I bead flowers, vines, birds, animals, and simple smooth lines in most of her work. I work with glass, stone and seed beads applied to cloth or leather. My sewing skills complement my beadwork skills to create unique traditional outfits such as dresses, shirts, leggings, breech cloths, and skirts. My interest also include making beaded picture frames and other household items such as needle cases and pin cushions. The beading knowledge I have acquired, I continue to share with others. I have taught classes in local schools, elders community centers and for my local native language and culture program. I encourage my students and myself look around and take inspiration from the gifts the creator has made for us.
I make art as a way to reflect the world around me in a self-expressive visually appealing way. No matter what the subject of a piece deals with, whether it’s a random flower or leaf that caught my eye or a particularly interesting story I’ve heard along my travels, my completed work is always about telling a story. Often times that story may only mean something to me, but it still tells a story or holds a memory of an experience I want to keep, remember and share with those around me. I’m a part time artist. I work on my pieces because I find it relaxing and really that’s why I do what I do, whether that means I’m playing in my beads or making a mess with corn husk. In the end all that matter is that I’m happy with what I finish.
Clayton Samuel King is a multi-media artist that works predominantly with acrylic paint. When creating his work, he will apply different techniques that help expand his knowledge of artistic expression. The common themes in his work relate to his Indigenous cultural background that is highly influenced by the Professional Native Indian Artist Incorporated, 3 generations of Woodland School artists and the sublime of nature. He does his best to interpret the knowledge that has been bestowed upon him to help sustain Anishinaabek culture and history through several artistic practices. He has recently been working and experimenting with visible and invisible ultraviolet luminescent paint. Working in the dark is different, but the advantage of this new media has helped him heighten the spectral and metaphysical aesthetic he wants to produce to the viewer. This medium is new to the Woodland Art Style and it is a medium that Clayton will continue to use in the future.
Martin Akwiranoron Loft
My art is a reflection of who I am as an Indigenous person (Kanien’keha:ka). As an artist, I strive to incorporate the iconography, teachings, and themes as a source of inspiration for my artistic production in a modern setting. I believe each image is a spark of creativity revealed in a tangible form….an artifact representing my personal truth and journey. Whether I am working in the medium of photography, printmaking, silver-smithing, or digital arts, I strive to represent this aspect of myself through creativity, cultural reflection, and historical concerns.
Mark Neal The more I paint the more I realize there’s nothing more artistic than to love one another. I have always strived to be unique and true always trying to bring to life what’s in my heart. In many ways, the work of a artist is easy. We risk very little, yet enjoy a position over those who are not. We offer up our work and ourselves to your judgement and thrive on negative criticism. But bitter truth we artist’s must face is that in the grand scheme of things, the average piece of junk is probably more meaningful than your criticism designating it so. But there are times when I truly risk something and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Facebook: mnexcel
Holly Pichette Holly Pichette is a multi-disciplinary artist whose creative output includes mixed media sculptures and paintings, mural painting and beadwork art. Her artistic practice is inspired by the intrinsic, handmade beauty of traditional beadwork. Much of her work is highly detailed and labor intensive. She uses vibrant colors and mixed media to create her work, working with materials such as seed beads, hide, vinyl, acrylic paints, beeswax and canvas. Holly is also a jewelry designer who has her own unique line of contemporary beadwork. She recently graduated from the Fine Art Advanced Diploma program at Fanshawe College and before that she had been working as a self-taught artist for the past 15 years. She currently lives in London, ON with her young son Phoenix and continues to work as a professional visual artist. Pichette’s artwork has been collected and exhibited in numerous galleries in Canada and her most recent work has been shown in London ON at The Arts Project and Satellite Gallery.
Nelson White I am a Mi’kmaq painter who is interested in depicting my culture; stories and dance traditions of my home community of Flat Bay, Newfoundland. My contemporary style includes cultural symbols that connect me to the spirit of Canada’s Aboriginal Community. My work is recognised through a fusion of design with figurative detail which emphasizes the rhythm, composition and overall aesthetic of my works. My work is a representational yet an interpretive depiction of real people, real places and objects I see every day. The use of the term ‘realism’ in characterizing contemporary representational art can be confusing, so I prefer the terms ‘representational’ or ‘objective,’ which indicate images based upon concrete referents, but leave open a wide range of subject matter and technical and stylistic treatments. My work is a mix of other influences from Andrew Wyeth to Edward Hopper to Alex Coville, figurative painters with a strong emphasis on composition. I am also interested in the work of indigenous painters including Norval Morrisseau and Alex Janvier. My creative approach is balance painting and illustration, seeking inspiration from a variety of artistic genres and periods. Regardless of the various techniques I use in my work, my art is based upon drawing. I am not interested creating photo realism, but colour and shape. Although this is clearly a figurative work, I try to flirt with abstraction; flatting the surface, using bright colours and black lines. I believe angst is all too often represented in modern art, and there should be room for bright fun work.