#TORONTO TOMORROW: Fashioning #Reconciliation at #Ryerson University with @rskucheran

Decolonizing and Indigenizing the Fashion Industry.

This panel addresses one of the many places Reconciliation can occur in Canada, even in fashion!

WHEN: Wednesday, February 2 @ 3:10 pm
WHERE: George Vari Engineering & Computing Centre Rm 103, Ryerson University, 245 Church Street, Toronto

FEATURING: 

For the Winter 2017 semester with support from its Aboriginal Education Council, the School of Fashion at Ryerson University developed Aboriginal curricula for its mandatory first year course FSN 223: Fashion Concepts and Theory, instructed by Dr. Ben Barry, Associate Professor of Equity, Diversity & Inclusion. A lecture was researched and delivered by Ojibway MA Candidate Riley Kucheran, and a panel event featured Angela DeMontigny, Métis Fashion Designer; Sage Paul, Setsuné Indigenous Fashion Incubator; and J’net Ayayqwayaksheelth, Nuu-chah-nulth Textile Artist, Cedar Bark Weaver, and Indigenous Outreach and Learning Coordinator at the ROM. ‘Fashioning Reconciliation’ is a conversation about Truth & Reconciliation, Cultural Appropriation and Indigenizing the Fashion Industry.

Synaptic City Collection (2012) from Sage Paul website

 

ONTARIO SCENE: Opening today at the National Art Centre Ottawa

600 Artists. 90 Events. 12 Days. 

Oh my! Where does one start?! First let me say this. There is nothing boring about Ottawa. So let’s just put that “it’s the city that rolls up the sidewalks at night” myth to rest. Just when I think I might get a breather from events the Writers Festival ends by seguing this city into another festival celebrating the arts – The National Arts Centre’s Ontario Scene. “Imagine 600 Ontario artists, from all disciplines, performing in the national spotlight on the stages of Ottawa/Gatineau: that’s Ontario Scene.”

The biggest limiting factor to Ontario Scene is that my body only allows for me to be in one place at one time. I may have to settle for 300 Artists, 30-ish events and maybe 1 less day.

I have already clocked two events with back to back nights at Carleton University Art Gallery for the Opening and Artist Walk Thru of the current exhibit “Human Nature.” This show “presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.”

Images by Leah Snyder for Mixed Bag Mag.

Graffiti Boxman Project. Photo Flips BSC.
 Kwende Kefentse.Credit James Park Photography.

Gathering in Ottawa this week are many Mixed Bag Mag Toronto faves! Kaha:wi Dance Theatre led a large crowd through a Powwow Boot Camp at the NAC yesterday proving you can #IndigenizeYourExercise. Gadfly and Mustafa the Poet will be part of Hip Hop Playground this coming Saturday a MANIFESTO initiative that will be transplanted here for #OntarioScene and hosted by Ottawa based Kwende Kefentse (Memetic). Juno Nominee Jaffa Road will play with the always raucous and rowdy Lemon Bucket Orkestra tomorrow evening at St. Albans Church – an event sure to be a crowd pleaser!
Jaffa Road. Photo Steve Carty.
Neema Bickersteth in Century Song. John Lauener Photography.

A new project I am very excited to see is Century Song on tonight and tomorrow at The Gladstone.

Century Song is a live performance hybrid showcasing the extraordinary Canadian soprano NEEMA BICKERSTETH. A radical revisioning of the recital form from one of Canada’s most exciting theatre companies, it is part classical song, part dance, part projection, and entirely theatrical.” Find out more…

Digging Roots. Raven Kanatakta and Shoshona Kish. Photo Ratul Debnath.

DECLARATION is a great Ontario Scene initiative that will be running from April 29 to May 3.

“DECLARATION is a celebration of Indigenous peoples’ right to engage in the creation and evolution of arts and culture, as asserted in Article 11 of the 2007 United Nations Declaration on the Rights of Indigenous Peoples. Created by Toronto-based ARTICLE 11, DECLARATION is an immersive, live, sound and image installation and performance-creation lab. It offers the rare opportunity to witness established Indigenous artists mid-process as they take risks and explore new approaches and collaborations in a responsive, interdisciplinary environment.”

The artists involved:

Read more about the full DECLARATION programming here.
Jesse Wente.
Santee Smith. Image by Red Works. 

John Morris, NAC Executive Chef

Also, on the menu, literally, is food – the best of what Ontario has to offer in the culinary arts.
On Monday night:
le café presents a WINEMAKER’S DINNER that showcases and complements the delightful wines of Pelee Island, Canada’s oldest and most southerly wine region. For this special occasion, National Arts Centre Executive Chef JOHN MORRIS will prepare a sumptuous five-course menu with all-Ontario ingredients, and every course will be paired with the finest varietals that Pelee Island has to offer. Winemaster MARTIN JANZ, of Pelee Island Winery, will be in attendance.”
On Tuesday night:
“Experience the innovative and mouth-watering creations of more than a dozen top chefs from across the province as they vie for the $10,000 top prize in the ONTARIO CULINARY CHALLENGE. Each chef will prepare uniquely Ontario small plates, using a selection of 100% local and regional meats, cheeses, fruits, and vegetables. With the support of Wine Country Ontario, chefs will be partnered with Ontario wineries to produce the perfect food-wine pairings, which attendees can sample throughout the night. Rub elbows with chefs, sommeliers, and media, sample some of the province’s finest wines, and cast your vote to award the first-place prize for the very best of the best in Ontario’s culinary arts.”
Alright, time for a 2nd shot of espresso and I will be ready to go.
Full Ontario Scene Schedule here.
Follow along on twitter @Ontario_Scene & #OntarioScene.

 

 

 

 

WHAT’S IN A NAME: We Are Cities round table sparks discussion on ways to Decolonize & Indigenize Ottawa

Evergreen Cityworks campaign gets Canada talking about city building.

Since April a dialogue on city building has been quickly connecting cities across the nation. The goal, utilizing data collected from round tables hosted in urban centres, is to “build a vision and action plan to make Canadian cities healthy and exciting places to live, work and play.” I got involved because I believe in the power of gathering in small circles. When we come together with a spirit of openness ready to dream about a different kind of future anything becomes possible.

Often the discussion of city building revolves around practical issues like infrastructure and public transportation. My goal, in convening several intimate round table conversations in Ottawa for the #WeAreCities campaign, was to expand the discussion to consider what it means to build cities that offer respectful, safe and celebratory places for everyone.

“Create a big vision for  your city and tell us about it” was one of the exercises each group was given. The round table at Carleton University Art Gallery was stacked with PhD students from Cultural Mediations all working in the space of decolonization / indigenization so naturally the visions encompassed ways to nurture a vibrant Indigenous presence in Ottawa. This city has a large urban Aboriginal community and for many the presence of First Nations, Inuit and Metis leaders gathering in Ottawa to work in law, policy, and culture gives the city a richer  dimension. The round table also included PhD student Kanatase Horn (PhD Candidate in Legal Studies) along with Wahsontiio Cross (PhD Candidate in Cultural Mediations). Their vision was to have Ottawa renamed by the Algonquin people from this area. Here Kanatase reflects further on what that vision could mean.

Change the name change the relationship

“Decolonizing and Indigenizing urban spaces is often met with a certain amount of resistance. In a country that has a difficult time balancing individual rights while simultaneously ‘celebrating’ pluralism, it’s to be expected. The atmosphere is tense to say the least. However, this tension should not prevent us from exploring the possibility of decolonizing urban spaces, since considering Canada’s history of colonization, as well as ongoing settler colonial processes of assimilation and erasure, Canada needs to change. Urban spaces provide fundamental locations for that change.

When Indigenous people move to urban areas from their home communities, they usually face economic and social oppression, racism, and increased exposure to police, as well as the criminal justice system as a whole. Rather than the consequence of individual choices however, such negative experiences should be understood as the result of larger structural realities anchored in settler colonialism. And this is why Decolonizing and Indigenizing the urban space, especially in the Nation’s Capital, is important to support and be a part of if you desire to live in a just society for all.

Simply put, these types of actions can initiate the changes necessary to turn Canada from a settler colonial society into a genuine post-colonial nation. It should not, however, be seen as a project that is inherently political. Instead, it should be seen as a project that takes place at every level of society, where there is room and space for everyone to participate. One example of an action with deep symbolic meaning would be the changing of the name of the city of Ottawa to an Algonquin word chosen by the Algonquin people from the unceded territory that Ottawa is located on. Such an action could initiate the kind of social and cultural changes that would make urban spaces more welcoming spaces for Indigenous people as well as Non-Indigenous people since the act of Decolonizing and Indigenizing does not mean prioritizing Indigenous people over others. These types of actions mean placing priority on relationships with each other and the land.

Decolonizing and Indigenizing urban spaces like Ottawa means recognizing that we exist on the land together – land that is the traditional territory of the Algonquin people. While changing the name would be a symbolic gesture, its potential for social and cultural transformation in the hearts and minds of citizens is huge! It would mean going back and trying to adjust our lives so that it reflects the vision that Indigenous people held when they invited settlers to live on their lands with them. This is not about producing exclusions or apartheid like living conditions. Rather, it means living on the land, even in an urban space, in such a way that our traditional hosts would deem appropriate and respectful to all of those around us.”

Is this even possible?

Name changing may seem like a complicated, seemingly impossible task but my co-facilitator Manjit Basi of Citizens Academy was quick to point that India went through it’s own process of name changing that started early in the pre-colonial era after independence. In 1956 the state of Travancore-Cochin was changed to Kerala and then more recently Bombay to Mumbai (1995), Calcutta to Kolkata (2001) and Mysore to Mysuru (2014) proving it can be done without unravelling a country.

There is no reason that we can’t do the same and the participants of this We Are Cities’ round table have proposed an action that could create a lasting legacy that speaks to reconciliation.

Mixed Bag Mag would like to thank Carleton University Art Gallery for providing the space for us to convene. Thanks to Citizens Academy for co-facilitation support and materials. Thanks to poet Jamaal Jackson (Just Jamaal) for closing our session in one of the most beautiful ways – a poem. (read here)

And finally thanks to all the participants for your thoughtful contributions.

More about We Are Cities at www.wearecities.ca and follow on twitter at #WeAreCities.

Want to host your own round table in your city? Find out how here!

All above images by Leah Snyder for Mixed Bag Mag.

INTERSECTING THE CITY: Urban Fabric at the Textile Museum Toronto shows how the natural and constructed co-exist


Queen. Image provided by Scott Norsworthy.

“Urban fabric as a metaphor for the city” ~ Deborah Wang

“The artists in Urban Fabric: Portraits of a City engage with the interwoven hard and soft dimensions of the city from multiple perspectives; their photographs, paintings, sculpture, film, and pattern-making create a portrait of a city, often taking Toronto as their subject.”

This year’s Toronto Design Offsite included an interesting partnership between TO DO and the Textile Museum. Urban Fabric: Portraits of a City, curated by TO DO’s Creative Director Deborah Wang (pictured right) traversed the intersections of what comprises a city – “the built environment, webs of individuals, and the social, technological, and economic processes that produce a particular urban framework” as well as the insertions / assertions of nature.

The exhibit featured stunning photography by Scott Norsworthy that included the West End of Toronto. Hard isolating walls of bricks, unbroken expanses of asphalt and a multiplicity of electrical wires were softened by gentle light blanketing the concrete jungle with air and sky. Sheila Ayearst‘s series of Concrete paintings also contained a softness despite their subject matter. The canvasses, in varying shades of gray, had titles like Beaconsfield Concrete, again recalling the West End and its rapid development.

“Holes in the urban fabric, these sites speak to the city as an evolving network of development, appropriation, redevelopment, undoing, and neglect.” ~ Scott Norsworthy

(top to bottom) Dundas, Dupont, and Dupont. Images provided by Scott Norsworthy.

“Visitors in search of escape instead encounter.” Jessica Craig

Jessica Craig’s large projection of a location along the Don Valley revealed the lushness of a green Toronto that doesn’t just exist as an unattainable Shangri-La in our imagination.


Don Valley #212 (2012). Image provided by Jessica Craig. 

“Long protected from intervention by floodwaters and topography, the ravine defies construction and therefore profit: it is a fracture in an otherwise unified urban fabric.”

Jessica’s photographic work considers the concept of “terrain vague” and in her essay Landscape off the path she writes:

“Terrain vague is Ignasi de Solà-Morales’ term for abandoned spaces within a city that exist outside the common social realm and are often perceived as empty.”

These transitional spaces, because of the ambiguous mystery they offer city dwellers, hold latent potentiality as places of enchantment and restoration. “The value of the still unaffected land – and the relief it offers to a highly developed city – is difficult to quantify” but there is a sense that spaces, such as these, are seen as necessary in order to restore some sort of balance to the rigid confines of the constructed city.

(top to bottom) Don Valley #212, Don Valley #132, Don Valley #240 (2012). Images provided by Jessica Craig.  

“Roots are the first kind of textile.” ~ Scott Euson

For artist Scott Eunson plant roots are like fibers as they shoot up and spread out and the city is like fabric in that it is made up of many single “elements [fibers] that cooperate with the whole” as it rises up and moves out across the landscape like a rhizome. He spoke on how we often talk about the city as though it is a textile “neighbourhoods are knit together” or “densely woven.” He took wire and wood along with roots and bent metal, all found on walks through the city, to loop and twist a typography into place.

His piece Material Map – Toronto represents the complexity of urban spaces and their intertwining of newly digitized and still naturalized realities. The city is where we are often forced to locate our busy lives but not without letting go of our desire to feel our natural-ness now and again. As skyscrapers rise we haven’t completely forgotten the call of the waves. The shoreline always beckons us to return to some ancient cellular memory. Below the foundation of the city lies what was once the Glacial Lake Iroquois, what’s left now named Lake Ontario which means “Lake of Shining Waters” in the Wyandot language.

I like that this piece presented without judgement. In the assemblage there is no warning about the eradication of nature due to the city, the metal wires are able to co-exist with the natural. Despite the entanglement there is a type of order and an absence of hierarchy. The wood and wire take turns coming up between the foreground from the background, at times each receding, other times bending or breaking out of the grid.

The shape of the work represents Toronto as it is contained by the borders of the Humber River on the West and the Don River on the East. A few wires and twigs grow out past the North, West and East boundaries but at the shoreline of the Lake all halts, deferring to the great body of water that lies to the city’s south.

For me this piece is hopeful suggesting that there can be a resolution between the requirements of a city with all of its systems and our urban yearning for woods and water, that the existence of one doesn’t mean the end of the other.

Perhaps we can wrap ourselves around the notion that balance is not beyond our imagination and our quest to discover where it lies in the urban space is the taut thread that snaps everything in place.

Urban Fabric closed on January 25, 2015. Read more about the show on the Textile Museum’s website.

Images by Leah Snyder for Mixed Bag Mag unless otherwise noted.

 

DESIGN IN CANADA: Fitting it all together

Design in Canada is alive and well.

I make it no secret that my favourite part of IDS is and always will be Studio North and Prototype. This is where you get to experience design that is less about trends and more about design thinking and process.


Prototyping a chair from Tony Round on Vimeo.

The other reason I love Studio North and Prototype is because it showcases Canadian design talent. Walking into boutique hotels, urban restos and condo model suites in this country one might think that the only options out there for interior designers are the unchallenged classics. The result – a predictable bore often referencing designers who are cold in the grave. Le Corbusier is long gone but his furniture and overpriced knockoffs are as ubiquitous as ghosts on Halloween. In a world still dominated by Mies and Eames it’s always refreshing to see interior designers and architects take a chance on artists and designers who are still alive and kicking.

When we get the opportunity to see interior designers incorporate more locally sourced art and design the results are far more interesting. One recent example of designers who did just that is the stunning Skwachàys Lodge in Vancouver.“Skwachàys (pronounced skwatch-eyes) Lodge and Residence at 31 West Pender Street in Vancouver houses a fair trade gallery, boutique hotel and an urban Aboriginal artist residence. 

Owned and operated by the Vancouver Native Housing Society (VNHS), the facility provides 24 shelter rate apartments for Aboriginal people at risk of homelessness, and two social enterprises that support the Society’s mission and financial sustainability.

The top three floors contain 18 boutique hotel units for socially responsible travelers and Aboriginal patients travelling to Vancouver from remote areas to receive medical treatment. The hotel units have recently been transformed with the assistance of a team of artists, designers, and suppliers.

Find out more…

In Toronto we have the Gladstone Hotel. Along with rooms designed by artists the Gladstone is also regular venue for local art and design with events like Come Up To My Room, part of Toronto Design Offsite.

“Internationally recognized as Canada’s favourite Boutique Art Hotel, the Gladstone uniquely blends historical Victorian architecture with contemporary luxury, downtown culture and whole lot of art, making it an iconic Toronto hub for locals and international travelers alike.

Supporting 37 artist designed hotel rooms,  over 70 art exhibitions a year, 4 diverse event venue spaces and 2 restaurants, all on a strong values-based mandate, the Gladstone strives to foster an authentic experience for its guests and the local community.”

Find out more…

My discoveries at Toronto’s Interior Design Show.

Each designer featured below was someone I encountered at IDS 2015 who approached their design thoughtfully, thinking about how to take good design and snap it into place – simply and beautifully.

TAT CHAO

I have featured Tat Chao a couple of times on Mixed Bag Mag and have been a fan since falling in love with his up-cycled candle holders at the One of Kind Show a few years back. This year he arrived at IDS ’15 with products that flat pack well and assemble in seconds – “no glue, no screws.”

DIÈSE or “hashtag” in English “is a flower vase made from four pieces of 3mm clear acrylic and a test tube. The way the pieces are assembled will result in different shapes. No glue, no screws are necessary. Just slide the slots into each other.”

(view opening image to see how DIÈSE is configured into a hashtag)

“Part of the “NO GLUE NO SCREWS” series, TRIÈDRE is made from three pieces of laser cut acrylic and simply assembled together by sliding the slots into each other. The result is an ultra-modern and scuptural object where the content (fruits, vegetables, bread, etc) are beautifully displayed.”

Follow Tat and see more of his work:
Website – www.tatchao.com
Twitter – @tatchao
Instagram – @tatchao

black stroke

CUT AND FOLD

Another brilliant flat packer project is the Origami Chair by Cut and Fold (Andrea Kordos & Tony Round). One of the DesignLines loves selections this chair moves like the wings of a butterfly to flap lightly into place.

“The Origami Chair is inspired by papercraft – the idea that folding simple shapes can create amazing forms. We’ve designed the chair to be simple and beautiful. The origami chair’s nest-like shape is generous and ergonomic, while the thin baltic birch shell keeps it efficient and minimal. The facets of the shell are connected with piano hinges – this give the chair some flex for added comfort. The thin shell sits on top of an elegantly folded steel frame. It’s available in different finishes including natural wood veneer, solid-colour laminates, and leather or cowhide.”


The Origami Chair from Tony Round on Vimeo.

Follow Cut and Fold and see more of their work:
Website – www.cut-fold.com
Twitter – @CutFold

black stroke

EUGENE PAUNIL
Eugene has been on Mixed Bag Mag before but as a visual artist which is how I first encountered his work at the Toronto Outdoor Art Exhibit many moons ago as well as more recently at Manifesto’s 2012 art show (see the eagle sculpture).

But Eugene’s first love is design and he attended OCAD U’s Industrial Design program. This year he brought “Light W8” to Prototype. An elegant idea, the light uses river rocks to displace the weight to adjust the height of the lamp. Designed for easy shipping the lamp comes apart and can be put back together will minimal effort.

Follow Eugene and see more of his work:
Website – www.eugenepaunil.com
Twitter – @eugenepaunil
Instagram – @paunilstudio

black stroke

GEOF RAMSAY
Geof, like Eugene and Tat, has also been on Mixed Bag Mag for a feature on IDS ’12. This year’s contribution to Prototype won him the award as well as DesignLines Magazine’s DesignLines loves badge. It’s when you are up close and personal with this chair, from the Euclid Collection, that you can see the stunning joinery and the hex motif reiterated.

“Inspired by the purity of geometric form, is a three part collection of products that fit together perfectly to create unique groupings and combinations. The forms of the hexagon, triangle and rhombus are repeated throughout the entirety of each piece, shaping the legs, profiles and joinery. The Euclid Collection is crafted from solid oak and is available in a natural or black satin finish.”

Follow Geof and see more of his work:

Website – www.geoframsay.com

Facebook – /geoframsaydesign
Twitter – @geoframsay

 

It’s a great time to consider Canadian and Indigenous designers and artists. There is more than enough talent here and it can feel good to invest your dollars in the business of someone you can actually speak with – whose blood is still warm in their veins. Knoll won’t shut down if a few Urbanites forego purchasing Saarinen’s design cliche of a table for their condo but as a buyer making that kind of decision may be enough to keep the next Ray Eames in business.


Cut and Fold at IDS15 from Tony Tound on Vimeo.

Above images of the Interior Design Show by Leah Snyder for Mixed Bag Mag. All other images provided by each designer.

TORONTO DESIGN OFFSITE: Vivien Leung’s energy infuses the Toronto design community

Another year of Pecha Kucha and TO DO with Vivien Leung.

My first memory of Vivien Leung was of this beautifully dressed woman pitching Pecha Kucha at a Design with Dialogue meetup co-hosted with TO DO. After that we kept randomly intersecting each other at street corners as we were running off to some event because we are both the kind of people who believe that community building is vital and participating online is not the same as showing up in person.

You can sense that Vivien is the type of individual to insert herself gracefully into any context, quickly identify a need and then without missing a beat start to nurture growth. She has played an important part in the emergence of a strong design community in Toronto.

Left to right: Vivien Leung, Libs Elliott, and Jay Wall.

Vivien’s work with Pecha Kucha has made the Toronto chapter the go-to event for the creative class who want to network while being inspired. Tickets always go quickly and today’s TO DO Pecha Kucha is a SOLD OUT event.

Libs Elliott, pictured above beside Vivien, is a past Pecha Kucha presenter and you can get an idea of how Pecha Kucha’s 20 (images) x 20 (seconds each) presentation style works by listening to her talk about the inspiration and process behind her unique quilts. You can also view more Toronto PK presentations on the website.

For the shoot, I asked each person to bring with them something that they felt represented Toronto design. Vivien choose to showcase a 3D printed earrings and necklace set by Hot Pop Factory Toronto’s “3D printing creatives” who specialize in “creative applications of digital fabrication.”

“Vivien stands out as one of our most valuable community-builders in Toronto. She tirelessly coordinates events and connects people across disciplines. The result is a mesh of relationships that activate Toronto’s design community.” ~ Jay Wall

Find out more about Vivien on www.vivienleung.co and follow her on Twitter.

Keep up-to-date on the latest Pecha Kucha news via Facebook and Twitter.

For all of the Toronto Design Offsite programming information click here

#TODO15

Above images by Leah Snyder for Mixed Bag Mag.

TORONTO DESIGN OFFSITE: Quilter & Textile Designer Libs Elliott opens at Cutler and Gross

Growing up with Mennonite family around meant quilts were ever present. Because of this I can appreciate the work and the communal effort that go into these blankets that can fetch thousands of dollars at relief sales, but heir aesthetic, often full of feminine florals and wallflower palettes – not my thing. Then I saw Libs’ work – my kind of quilt! Using computer generated code and bold colour combinations Libs’ quilts are not about having a soft presence. They are loud and assertive.

Breaking with tradition while bending the boundaries of craft, technology and design, her creations are like a post-structural take on textiles. You could succinctly wrap up Jacques Derrida in one of these deconstructed babies.

Libs’ work is gorgeous and if you want to see more head over to Cutler and Gross (758 Queen St. W) to view her display “Wrap Yourself in Code” as part of Toronto Design Offsite.

Follow Libs on Facebook, Instagram and Twitter.

(Above image of Leah Snyder photographing Libs Elliott by Jay Wall)

Libs rocks some local designers below.

Ring by Vitaly
Brooch by Julie Moon
Glasses by Cutler and Gross

Libs’ quilt patterns were in collaboration with designer and technologist Joshua Davis. Read more about the process here.

Libs is seen here with Vivien Leung  (Pecha Kucha) and Jay Wall (“Reading/Writing the Junction” at Cut the Cheese)

Posts on Vivien and Jay to follow…!

#TODO15


Above images by Leah Snyder for Mixed Bag Mag.

 

ALL IN THE FAMILY: The National Gallery of Canada Features the Legacy of Charles Edenshaw

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles Edenshaw

A family’s remarkable resiliency in spite of the odds.

This weekend at the National Gallery of Canada the exquisite exhibit of Da•axiigang, the Haida name for the the artist Charles Edenshaw, is closing.

Charles, or “Chinni Charlie” as he is known to his family, was born in 1839 but despite the 175 years we are removed from his physical presence on earth his spirit continues to speak through the hands of his great grandchildren.

Silver bracelet with Haida carvings Charles Edenshaw. Sea Bear Bracelet, late 19th century silver. McMichael Canadian Art Collection. Photo: Trevor Mills. Image courtesy The National Gallery of Canada.

The exhibit is housed in the galleries that are usually reserved for the Inuit Collection. This intimate space is well suited for the story of Charles and the family ties that are presented in the exhibit. As you read through the information provided you understand how important family was to him and how important he is today to his descendants that refer to him by the Haida word (Chinni) for grandfather.

When you turn left to enter into the first room of the exhibit you are met with a piece that spiritually roots the work. It is unlike the rest of the collection of platters, hats, walking sticks, and silver spoons that look as pristine as if they have come fresh from the artist’s hands. It is a cradleboard that Charles youngest daughter, Nora, identified as being hers and may have also been used for his other three daughters – Emily, Agnus, and Florence – who came before. It is worn down with the wear of practicality from safely securing babies to backs. Simply carved and embedded with abalone shells, it starts off an exhibit that includes work by the men who are descended through two of these women – James Hart and Robert Davidson.

Just beyond the cradleboard is a fantastic Transformation Mask by James who is also the hereditary Haida Chief. On the other wall Nangkilslas: He Whose Voice is Obeyed is the other Transformation Mask by Robert that bookends a bentwood chest attributed to their great-great-grandfather. A photograph on the wall beside Robert’s mask shows the one by their Chinni which inspired both of them as master carvers. Now too fragile to travel with the exhibition the strength of his descendants skill fills the void left by its absence.

Transformation Mask, circa 1882-1890: wood, bird feathers, animal fur, pigment, leather copper. / VANCOUVER ART GALLERY

In the accompanying book for the show Chief James Hart writes:

“Chinni Charlie “wished he could leave his hands to us” meaning he wanted to leave his talent to his family. In the end he did. The ones who carry on in the family like to say that “we get it from Chinni Charlie and Nonni Isabella – it runs in the family.” 

Nonni Isabella was Charles wife, known also by her Haida name Qwii.aang. A talented artist in her own right, the exhibit showcases the work that she did with Charles, her partner in life and art.

Her skill as a basket and hat weaver using spruce root can been viewed up close and personal. The exhibit includes many examples of her work woven with tedious precision. Charles would paint her pieces infusing them with more layers of meaning to teach the “Haida Way”. These beautiful objects also speak to the relationship between spouses who were creatively inspired by each other’s talent.

A wide brimmed hat woven out of spruce root and painted in Haida designsCharles and Isabella Edenshaw (attr.). Eagle Hat, c. 1890 spruce root, paint. Museum of Anthropology, The University of British Columbia. Photo: Trevor Mills. Image courtesy The National Gallery of Canada.

In this generation the spirit of Nonni Isabella is embodied in her great-great-granddaughter Lisa Hageman Yahgulanaas. Lisa is a talented textile artist who “weaves in the geometric style of weaving known as Yelth Koo or Raven’s Tail” embracing the complexities of the art form as her Nonni did.

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles Edenshaw

Charles Edenshaw (attr.) Model Pole, c. 1890–1905. Argillite. Image provided by the National Gallery.

A cultural strand was not severed.

The night of the opening you could witness the thread of Charles’ legacy stitching the past to the present as family members from the temperate West Coast arrived to the chilly winter of Ottawa to be present and pay their respects.

When I ask artist Michael Nicoll Yahgulanaas to tell me what is important about his Chinni’s work when viewed in a contemporary context he replies:

“my great grandfather worked in one the most important traditional styles, the tradition of innovation.”

Long before Picasso happened upon the African masks that inspired him to produce a radical new style of painting, Charles was soaking up what arrived in his world that was ‘exotic’ and foreign to him. Reading the newspapers and books that landed in his lap from faraway lands, he would cut out what interested him to hang like an inspiration board on the walls where he worked. Animals not indigenous to the terrain of Haida Gwaii, like elephants and lions, started to make appearances in his work but with an incorporation that seemed natural when viewed amongst the Haida symbols.

Not only did Charles break new ground with regards to hybridized content but he experimented with materials, like gold and silver, introduced during the Colonial expansion. He incorporated the new with the traditional materials and was able to confidently shift from wood, to metals and then on to argillite as evidenced by the wonderful platters contained in the exhibit. These platters, made of the black slate that was locally quarried yet still labourious to obtain, are transmissions of the oral traditions that still survive in these (post) post modern times.

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles EdenshawCharles Edenshaw (attr.). Platter, pre-1894. Argillite The Field Museum, Chicago, 17952 Photo: © The Field Museum. Image courtesy The National Gallery of Canada.

This contemporary legacy goes beyond family to include so many carvers working today. Tlingit artist Nicholas Galanin recalls how his first instructor (Louis Minard) was taught by A.P Johnson, an artist who had some point learned at the hands of Charles. You see the substantiation of Charles in Nicholas’ work. One of his recent creations is a beautifully carved piece titled Indian Children’s Bracelet, a deceptive title for what it really is – child sized handcuffs used to restrain Aboriginal children who were being separated from their families and taken off to schools. (Read more here.)

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles EdenshawIndian Children’s Bracelet. Hand Engraved, Iron. Nicholas Galanin. 2014. Image courtesy Nicholas Galanin. 

The Indigenous traditions of the Pacific West Coast, like carving and weaving, have continued to influence the international art scene and the work of Nicholas as well as Charles’ familial successors – Robert, James, Michael and Lisa – are part of collections around the world. But this is nothing new. Even in his time, Charles was recognized widely. In 1902 the ethnographer C.F. Newcombe declared Charles to be “the best carver in wood and stone now living.”

Almost two centuries of international influence! This would be remarkable for any family but the fact we are even able to experience the work is nothing short of miraculous. Charles lived through not one but two small pox epidemics that claimed almost the entire Haida population. The odds were that he should not have survived let alone gone on to thrive as a celebrated artist with an extensive family still practicing in the traditions he learned from his own elders 200 years ago.

Along with the almost complete loss of a people, the traditional ways of being were forced to go underground. The Anglican missionaries condemned the practice of tattooing the Haida clan symbols on skin so bracelets instead of bodies became the place where one could claim their identity. In 1884 the Potlatch was banned and a thriving culture almost came to a halt but was not fully annihilated. Somehow that thinning cultural strand, weakened by ‘progress’ and British expansion, was not entirely severed.The combined four hands of this couple stitched, built, and carved a new path to Sovereignty. They did this all while raising their children – 11 in all.

Today we prosper from the richness they left behind and the talent passed forward.

The Charles Edenshaw exhibit is a love letter to a grandfather, a creative collaborator and a spiritual mentor. This exhibit is a family tale that can inspire us all.

The exhibition ends Sunday May 24 at the National Gallery of Canada, Ottawa. For exhibit hours click here.

More information on the Charles Edenshaw exhibit can be found here.

black stroke

All descended from Charles Edenshaw, artists Michael Nicoll YahgulanaasCorey Bulpitt and Chief James Hart demonstrate that the Haida culture is alive and well in the 21st Century.

Abstracted drawing “Papered Over” (2011.4.25 36″ H X 24″ W) by Michael Nicoll Yahgulanaas. Image courtesy Michael Nicholl Yahgulanaas.

Created with graphites, crayon, watercolour, ink pen and brush, rice paper and canvas support “Papered Over” is a work Michael writes was “inspired by the winter light on clear days in Calgary Alberta will in residence at Mont Royal University.”

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles EdenshawWork by Larissa Healey and Corey Bulpitt (great-great-grandson of Charles Edenshaw) at Sakahàn, The National Gallery of Canada. Image by Leah Snyder for Mixed Bag Mag.

Along with Larissa, Corey explains his process for the above work commissioned as part of last year’s Sakahàn, the National Gallery’s International Indigenous Art Exhibit.

“James Hart, great-great-grandson of Charles Edenshaw, and exhibition curator Robin Wright, discuss what makes the Charles Edenshaw exhibit at the National Gallery of Canada, so special.” View on Youtube here.

Outside the National Gallery with sun shining through the glass and a poster of a bracelet advertising Charles EdenshawThe Three Watchmen by Chief James Hart on Sussex Drive in front of The National Gallery of Canada. Image by Leah Snyder for Mixed Bag Mag.