Breaking Apart in Order to Rebuild Deconstruction and Identities in First Nations Art by Leslie Grant In considering any theme specific art exhibition, such as the recent show in the Emily Carr Institute Concourse Gallery titled "Deconstructing the Aboriginal First Nations Native Indian", it is important for the viewer to designate the theme that the show has been organized around, and consequently to view the work with that theme in mind. In the case of the student exhibi- tion mentioned above, there are two themes that must be taken into account by the viewer. On the one hand, there is the notion of an art show that sets aside space specifically for a group of people who have had limited, or a lack of, agency in the past. Historically misrepresent- ed and under-represented, First Nations people are able, through the use of both the time and space provided by such a show, to control their own representation and express themselves freely. The First Nations Student Exhibition was presented in conjunction with the First Nations Awareness Day. The show opened on this day, and the fes- tivities included guest speakers from the community, as well as Native dancers. As Shirley Bear wrote in a previ- ous issue of Planet of the Arts (Spring 1998), "The First Nations Awareness Days are a celebration of our sur- vival". The traditions of the First Nations Awareness Days and the exhibition of First Nations student art- work are valuable in numerous ways. It is important for the viewer to have an understanding of the rea- sons behind these events, and to have an acknowl- edgment of the opportunities the exhibition facil- itates, as well as its celebratory nature. To quote Peter Morin, one of the coordinators of the show (along with Daina Warren) as well as a participating artist, "Shows like this, like the one we put on this year, are about providing answers about First Nations people... what needs to be done now is people need to ask questions, right, because that’s the only way that something like this will truly work". On the other hand, there is the theme proposed by the title, which points to a breaking down of negative stereotypes that participate in the Western con- struction of First Nations identities. This ‘deconstruc- tion’ aims to, in analyzing the elements of such false concepts, discredit these misrepresentations and present alternate and authentic definitions of self: Peter Morin explains, "We got together as a group, and we came up with the idea of decon- structing because there is a lot of stereotypes around First Nations people, like the whole ‘Imaginary Indian’ thing, which is a classification that the dominant society had given to us ... we came up with the idea of deconstructing because we need to empower ourselves as students and people and things like that, right. So, in deconstructing the aboriginal First Nations Indian, that’s us as a group taking control of what people know about us." This talking control of one’s . Resonance by: Nic Lyons I went to Bellingham knowing nothing about the show I was about to see, apart from the fact that it was for Sandra Semchuck’s photo installations class. All I knew was that they were still setting up and that the opening was only two hours away. On the ride down to the Viking Union Gallery, Western Washington University I got some informa- tion about the Resonance show from Sandra, but nothing could prepare me for what I was about to experience: take a _ few ECIAD students, plant them in another school (in anoth- er country for that matter), and the results are quite amazing. When I showed up Sandra’s students were in the final stages of preparation, I heard a few horror stories about the days leading up to the show, but soon all of that made way for the’ illusion of “Everything in it’s place, a place for everything.” One of the first comments I heard was from a woman (asking no one in particular), “Can you sit down? You never know with this art stuff.” She sat down on one of the benches that made up part of “Cycle” by Claudia Katz. It Nancy Cervenko Anaesthetic C print, Infra-red 7panels, (16X24 ea.) Dana Warren, The TeePee Prayer own representation is implemented by the art-making process and the possibility of the public presentation of one’s art works. Daina Warren, who is a student in third year studio and majoring in painting and sculpture, present- ed a sculpture, a Plexiglas teepee with text circumnavigating the outside surface, that addresses issues of identity and place. The viewer walks around and around the piece in cir- cles in order to read the text, and this dizzying effect speaks of how hard it is to find ‘place’, in Daina’s sit- uation especially because she was raised outside of a First Nations context (in her artist’s statement she writes, "My nation is the Montana Slavey how- ever I grew up with an Irish and Ukrainian upbring- ing"). The problematic nature of the construction of a coherent identity, when faced with a lack of direct experience as well as stereotypical concepts, is articu- lated quite directly in this piece. The form of the teepee, a structure that has become a generalized symbol for First Nations people regardless of spe- cific usage, cast in Plexiglas shows a conflict between traditional ideas (including stereotypes Nations people) and contemporary practices. Daina explains, "I had a lot of trouble trying to decide what I wanted to put in or around it [the teepee] .. . and I ended up thinking about who I am and where I’m from and I just started like realizing that I wanted to actually say who I am and what I’ve experienced, right, and what it’s like - like sometimes it really both- ers me when people come up and say, well, what’s it like being Native, do you know the traditional ways, and like I don’t totally, so I just thought... . it might be more emotive that I use words to explain what I’m feeling,". The text used is straightforward and gives the viewer an understanding of the difficulties surrounding First Nations identity in general and Daina’s struggles in particular. Of the photography that Peter Morin, a third year studio major focusing in printmaking, included in the exhibition, the piece titled, "Standing in My Studio With the Old Ones", speaks eloquently to the theme of identity construction. The photograph layers two images, one being an archeological photograph of First Nations Elders from the Tahltan people, and the other is a self-portrait of Peter in a studio setting. The first photograph described above refer- ences the images of Edward Curtis, who photographed First Nations people in the late Nineteenth Century. Curtis’ images have come to be seen, not as objective portraits, but rather as representations that reinforce negative stereotypes of First but also referencing the traditional ways of First Nations people and further obscure the opportunity for either an individual or group voice. Peter speaks of how this archeo- logical photograph relies on the same mechanisms when he says, "you can look at the initial photograph and you can see that ... the one that took the photo, he suggested them to get dressed up in their finery, and they didn’t trust him, you could see that they didn’t want their picture taken, but he still took it". The photograph is taken out of its original context and placed with a self-portrait. What occurs is a recontextual- ization of the stereotype, rather than a disregarding of it alto- gether. The stereotypical representation is not discarded, but instead reexamined in a new context and therefore given new meaning and integrated into a conception of the self. The move from an image that talks about a group, that generalizes and stereotypes, to an image of the self, shows the attempt to create an individual understanding that integrates varied rep- resentations of First Nations people while at the same time attempting to deconstruct negative stereotypes that make individual identity impossible. As Peter says, "I’m redefining my cultural icons . . . [trying] to provide an answer." Peter Morin Standing in My Studio With the Old Ones involved two benches on either side of a pile of leaves. Hanging above were mirrors suspended at various heights and distances. The pieces’ photographic elements consisted of emulsion transfers partially covering each mirror. These frag- ments of images were staggered in such a way that when viewed head on, the viewer could see the photographs, their own reflection and what lay behind them, as well as what was on the other side. The photographs were of a man’s face in a variety of expressions, one of which included a phone receiv- er. I began to think about the title and the leaves and what their relationship to the images might be. I wanted to see with whom he was communicating, and know what their conversa- tion was about. I went over to the other side looking for answers only to be confronted by the same questions. I imag- ined what and to whom we were speaking. What I came up with in my own mind involved ideas of relationships, change and time as the title suggested. In looking for an answer I realized that this was not about storytelling so much as it was about contemplation. I could both literally and figuratively see myself in the work. I could also see others on the opposite side looking at themselves and through the piece. Soon the benches were full: people sitting side by side in conversation or alone in deep concentration much like on a bench in a park. Claudia’s own reaction to being asked if people could sit was, “Of course... it’s functional art.” Another piece that drew me into contemplation was Nancy Cervenkos’ “Anesthetic.” I first read it as “an anesthetic” until I took a second glance. At that point I was unable to unread my initial reaction to the title. Anesthetic devices made up a big part of the content but it was the con- cept that held me engaged. The character of the pieces, cross- processed infra-red film created super-saturated colour with a surreal quality. The images were layered: mounted on foam core suspended by fishing leaders and line. I stood in front of it for some time writing in a stream of consciousness. Words floated through my mind as I tried to wade into the work. The four images closest to the front were of a woman in a red gown submerged in a pool of intense cyan water. Looking at it, I could almost feel the pressure of the water against my skin and hear the underwater silence. The closed eyes and mouth with a few stray bubbles drifting upward spoke of a last breath before slipping into an unconscious state. She seemed to be falling as if into the initial layer of sleep and free floating. The front two images evinced a strong upright stance carrying the idea of resurfacing or perhaps reluctance to allow herself to fali into the abyss. The fishing line had the dual Take a few ECIAD students, plant them in another school (in another country for that matter), and the results are quite amazing. responsibility of “tying” it all together and conveying suspen- sion. Behind these water images were two bright yellow “earthy” images: fallen leaves and apples. I though of gravity and the cycles of life (continuing on from my thoughts about Claudia’s work). It looked as though Nature was preparing to ‘fall into the deep sleep of winter. It didn’t speak to me of death. Rather it seemed to address hibernation and the con- tinuation of the cycle of rebirth. After looking at the composi- tion for some time I read what Nancy had to say about it, which said more in a few sentences than I ever could: “When we are children, we see things. We see their surface structure. We struggle to make meaning. We experi- ence things deeply.” Influx * Magazine February 1999 3] Breaking Apart in Order to Rebuild Deconstruction and Identities in First Nations Art by Leslie Grant In considering any theme specifi at ‘exhibition, such asthe recent show in the Emily Care Institute Concourse Gallery tiled "Deconstructing the Aboriginal Fitst Nations Native Indian’, iis important for ‘the viewer to designate the theme thatthe show has been ‘organized around, and consequently to view the work with ‘that theme in mind. In the case ofthe student exhibi- tion mentioned aboe, there are two themes that must bbe taken into account by the viewer. On the one hand, ‘there i the notion ofan art show that set aside space specifically fora group of people who have had limited, ‘or lack of, agency in the past. Historically mistepresent- ced and under-epresented, First Nations people are able, {through the use ofboth the time and space provided by such a show, to control their own representation and express themselves freely ‘The First Nations Student Exhibition ‘vas presented in conjunction withthe First Nations ‘Awareness Day."The show opened on this day and the fes- tivities included guest speakers from the community, as well a Native dancers. As Shtley Bear wrote in pre (us issue of Planet of the Arts (Spring 1998), "The Fist Nations Awareness Days. area celebration of our sur- vival" The traditions of the First Nations Awareness ‘Days and the exhibition of Fist Nations student art work are valuable in numerous wavs, Its important for the viewer to have an understanding ofthe rea- sons behind these event, and to have an ako ‘dgment ofthe opportunities the exhibition facil itates, a well a its celebratory nature. To quote Peter Moria, one of the coordinators ofthe show (along with Daina Warren) as well as @ participating ars, "Shows lke this, ike the fone we put on this year, ae about providing answers about First Nations people what needs to be done now i people red t0 ask questions, right, because that's dhe onl way that something like his will ruly work” ‘On the other hand, there is the theme proposed by the tile, which points toa breaking down of negative Stereotypes that participate in the Western con struetion of Fist Nations identities, This ‘deconstruc- ‘on’ aims to in analyzing the elements of such false concepts, discredit these misrepresentations and present alternate and Authentic definitions of self. Peter Morin explains, “We got together as group, and we came up with the idea of decon- structing because there is alot of stereotypes around First Nations peopl, like the whole ‘Imaginary India’ thing, ‘which i elassiication thatthe dominant society had given tous... We came up with the idea of deconstructing Because ‘ve need to empower ourselves as students and people and things like tha, right. So, in deconstructing the aboriginal First Nations Indian, tha’ us asa group taking contol of ‘what people know about us” This talking control of one's Resonance by: Nic Lyons. T went to Bellingham knowing nothing about the show I was about fo ses, apart fom the fact that t was for ‘Sandra Semchuck’s photo installations cass. All| kneve was thar dhey were stil setting up and thatthe opening was only {wo hours away. On the ride down to the Viking Union Gallery, Western Washington University I got some informa- tion about the Resonance show from Sandra, but nothing ‘could prepare me for what Iwas about to experience: take @ few ECIAD students, plant dhem in another school (in anoth= fer country for that matter) and the results are quite amazing. ‘When I shoved up Sandra’ students were inthe final stages ‘of preparation, I heard afew horror stories about the days leading up to the show; but soon al ofthat made way forthe ilusion of “Everything init’ place, a place for everyting.” One of the fist comments I heard was from a ‘woman (asking no one in particular), “Can you sit down? You ‘newer know with this at stuf.” She sat clown on one ofthe benches that made up part of by Claudia Katz, Te Span 4 on) ‘own representation is implemented by the art-making process and the possibility of the public presentation of one's art, works, Daina Warten, who isa student in third year studio and majoring in panting and seulprure, present- ed a seulpture; Plexiglas teepee with text circumnavigaing the outside surface, that addresses iss of identity and place. The viewer walks aroun and around the piece in ce ‘les in order to read the test and this dizying effect speaks of how hard itis to find ‘pace’ in Daina’ st- uation especially because she was raised outside of First Nations context (in her artist's statement she writes, “My nation isthe Montana Slavey how: vcr I grew up with an Ish and Ukranian upbring- ing’). The problematic nature of the construction of a coherent identity, when faced with a lack of direct ‘experience as wel as stereotypical concepts is articu- Tated quit directly inthis piece. The form ofthe teepee a structure that has become a generalized ‘symbol for First Nations people regardless of spe~ cific usage, cast in Pexiglas shows a conilct bberween traditional ideas (including stereotype but also referencing the traditional ways of Fi Nations people) and contemporary practices. Daina explains, "Thad a lot of trouble trying to decide what I wanted to putin or around it [the teepee]...and I ended up thinking about who Iam and where I'm from and I just started like realizing that 1 wanted to actualy say who Lam and ‘what I've experienced, right, and what it ike ike sometimes i really both- ers me when people come up and say, wel, what’ it ike Being Native, ‘do sou know the traditional ways, and lke I don't totally, so just thought... might be more temotive that I use words £0 explain what I'm feeling," The text used is straghtforvard and gies the viewer an understanding ofthe difficulties surrounding Fist ‘Navons identity in general and Daina's struggles in particular (Of the photography that Petce Morin, a third yea seudio maior focusing n printmaking, eluded in the exhibition, the piece titled, "Standing in My Stadio With the Old Ones", speaks eloquently tothe theme of identity construction. The photograph layers two images, one being an archeological photograph of First Nations Elders from the Tahltan people, andthe other i a seléportrait of Peterin a studi setting. The fist photograph described above refer- ences the images of Edward Curbs, who photographed First Nations people inthe late Nineteenth Century. Claris images have come to be seen, not as objective portraits, but rather as representations that reinforce negative stereotypes of First "Nations people and farther obscure the opportunity fo either ‘an individual or group voice. Peter speaks of how this archeo- Togical photograph relies on the same mechanisms when he ‘a9, "you can look at the initial photograph nd you can see tha the one that took the photo, he suggested them to get dressed up in thee finery, and they didn’t trust him, you ‘could sce that they didn’t want their picture taken, but he sill, took it.The photograph is taken out ofits original context and placed with a sel portrait. What occurs is a recontextual- ization of the stereotype ather than a disregarding of it alto- gether. The stereotypical representation is not discarded, but instead reexamined in a new context and therefore given new ‘caning and integrated into a conception of the self. The ‘move from an image tha talks about a group, that generalizes and stereotypes, to an image ofthe self, shows the atempt 10 ‘create an individual understanding that integrates varied tep- resentations of First Nations people while atthe same time attempting to deconstruct negative stereotypes that make individual identity impossible. As Pecr says, I'm redefining ry cultural icons... [tying] to provide an answer” ‘Standng iy Ske Wen to Ox Ones involved two benches on ether side ofa pile of leaves. Hanging above were mirrors suspended at various heights and alistances. The pieces’ photographic elements consisted of ‘emulsion tansfers partially covering each mirror. These fag ‘ments of images were staggered in such a way that when viewed head on, the viewer could see the photographs, their ‘wn reflection and what lay behind them, a8 well as what was fn the other side, The photographs were of a man’s face ina ‘variety of expressions, one of which included a phone receiv- cx Tegan 0 think about the ttle and the leaves and what their relationship to the images might be. I wanted to see with ‘whom he was communicating, and know what their conversa: tion was about. I ent over tothe other side looking for answers only tobe eonffonted by the same questions. I imag- ined what and to whom we were speaking, What Icame up With in my own mind involved ideas of relationships, change and time as the tile suggested. In looking for an answer I realized that this was not about storytelling so much a it was about contemplation. Tul both literally and figuratively ce myself in the work. I could also see others on the opposite Side looking at themselves and through the piece. Soon the benches were full: people sitting side by side in conversation for alone in deep concentration much like on a bench in a park. Claudia's own reaction to being asked if people could st was, “OF course. its functional ar.” Another piece that drew me into contemplation was Nancy Cervenkos’ "Anesthetic" first read it 38 "an anesthetic" until I took a second glance, At that point Iwas ‘unable to unread my initial reaction tothe ttle. Anesthetic devices made up a bg part ofthe content but it was the con ‘cept that held me engaged, The character of the pieces, cross- processed infra-red film created supersaturated colour with & surreal quai The images were layered: mounted om foam core suspended by fishing leaders and line I stood infront of it for some time writing in a stream of consciousness, Words floated through my mind as T tied to wade into the work. The four images closest tothe front were of @ woman ina red gown submerged in a pool of intense cyan water, Looking at it Tcould almost feel the pressure ofthe water against my shin and hear the underwater silence. The closed eyes and ‘mouth with afew stay bubbles drifting upward spoke of a last breath before slipping into an unconscious state. She seemed to be falling a into the initial laver of sleep and free floating. The front two images evinced strong upright stance carrying the idea of resurfacing or perhaps reluctance to allow herself to fall into the abys, The fishing line had the dul Take a few ECIAD students, plant them in another school {in another country for that matter), and the results are quite amazing. ‘esponsibility of “ying” it all together and conveying suspen ion. Behind these water images were two bright yellow “earthy images: fallen leaves and apples I though of gravity and the exces of lfe (continuing on from my thoughts about CCauia’s work). I looked as though Nature was preparing to fall into the deep sleep of winter Ie didn't speak to me of