PASSPORT Type/Type Issuing country/Pays émetteur Passport No./N° de Passeport

rae glass Pp CAN WY266992

Surname/Nom

SIMPSON

Given names/Prénoms

WILLIAM BRADLEY

Nationality/Nationalité

CANADIAN/CANADIENNE

Date of birth/Date de naissance

oe DULY FULL 54

Sex/Sexe Place of birth/Lieu de naissance

M SASKATOON CAN

Date of issue/Date de délivrance Issuing office/Bureau de délivrance

23 AUG /AOOT 93 VANCOUVER

Date of expiry/Date d'expiration

23 AUG /AOOT 98

P<CANSIMPSON: WILLIAM<KBRADLEY <<<<<<<cceceececece
WY266992<6CAl :107225M9808232<<<< <<< 66 e0¢¢<(04

Please for give me but I find I have shifted the last few weeks
from an intellectual process to a physical process and I find
it more and more difficult to answer questions.

This has happened after a-brutal critique given me by Maurice
which drove me hard into my self. I'm only now waking to the xa
Process and for this I thank him greatly.

IL had to commit myself to a definjtion of the word art and this
dovetailed with many years of examining ideas of belief and
discarding them hopefully for truth.

In art school I found myself caught in this intellectual loop

of proof and proving. I used to spend all my time attempting :

to prove myself to the satisfaction of others for approval and Pe
marks. I find I have to choose beliefs to ground myself to some

kind of reality. So I've chosen to believe that art is a verb,

art is doing. ; ‘

I hope I stop thinking about it altogether, for me the processes

is self abusive. I don't need to justify my existence, as an

artist I just need to do only that which is needed.

Now we have the problem of identifying the product of one's
art. I now refer back to the process of reasoned existence.
That is, as my close friend Kevin Rae points out, I can not

see the back of my head. Through the use of my senses that
includes my brain I déduce that it's there or someone just told
me.

Art seems to be about communicating something that cannot be
otherwise directly communicated, but must be deduced by the
senses from that which is and isn't there, and is for some
intended purpose or why do anything? The art itself may be
invisible maybe even insensible.

Maybe successful art counteracts the behavior which has been
ingrained by enforced institutional standards and legitimizes
disbelief in our society. I've heard it said that successful
art is art which is doing what it was intended to do.

You've heard the saying the more I learn the less I know and
I have found this to be true for me. So I wish to know nothing.

I accepted the challenge given me by the institution by choosing
to work with it as a medium. I've chosen a path that believes

in diversity. That is, to survive as a being on a planet that

I believe to be a being, in a cosmos that I believe to be a
being, I must support and encourage an ever growing diversity

of life and acknowledge death as another belief.

To know me you (story )

must know must. know what I do
some of the most important questions
asked of me as an artist?

What do you do?

CULTURAL SURVIVAL OF SRI LANKA

25 Gatte Face Centre Road, Colombo - 3, Sri Lanka
What is Cultural Survival?

Since its inception in 1988, Cultural Survival of Sri Lanka has helped indigenous people and other traditional
(puranagama) communities to articulate, document and disseminate their age-old traditions of living ecological and
cultural wisdom. In the process, it has served in a bridge-building capacity between diverse perspectives, helping
tural communities to deal as equals with their urban counterparts in the democratic decision-making process, éven
while making the practical wisdom of Sn Lanka’s village hinterland accessible and understandable to the urbanised,
Westem-orented population. ©

We maintain that cultural diversity is one of the greatest social resources for any nation and that Sri Lanka in particular
is extraordinarily well-endowed in this respect. All too often, however, in their haste to emulate the standards and
tastes of other societies, Sn Lankans have been too willing to shed their rich cultural inheritance in exchange for the
outward trappings of fashionable ‘advanced’ societies. This abandonment of traditional values:and institutions has
in recent years accelerated to create a social and moral vacuum that has tumed into a breeding ground for social
intolerance and unbridled consumerism with dire consequences for present and future generations.

Moreover, as the holistic traditional perspective has long insisted, human culture and the natural environment are
inextricably bound together as one complex living network or biosphere, and any disruption of our island’s socio-
Cultural integrity is bound to have far-reaching effects upon the natural environment’s fertility and Capacity to support
the quality of life that previous generations cherished and guarded through a conscientious policy of stewardship
rather than ownership.

This awareness of and appreciation for our collective responsibility as the custodians of our yet-unfathomed cultural
and environment heritage, we believe, must be preserved and strengthened if we are to have any hope of preserving
our traditional quality of life for generations to come.

In the name of development and progress, native peoples and other traditional communities have lost land, natural
resources, and control over their own lives. The consequences have been social disease, despair and impoverishment
for them - and conflict and environmental devastation for us all. But such destruction is not inevitable.

Cultural Survival, the organisation, does not consider cultural survival, the concept, to be a matter of clinging to
folkways but rather a question of enabling people to determine their own future. Greed and ignorance, not fate,
extinguish traditional societies. Rural communities may be dispossessed simply because they are weak, tempting
targets. Development projects may destroy whole communities in the name of distorted notions of progress.

Instead of a choice between poverty and environmental destruction, Cultural Survival helps traditional communities
to design and implement their own culturally sensitive programmes. These efforts to defend nights, lands and cultures
offer an alternative to victimization by economic interests and ideological prejudices. Cultural Surival programmes
are inspired by a convergence of the crucial needs of the modem world: human rights, the natural environment, and

economic development. :

Cultural Survival partnerships with traditional communities foster autonomy and local decision-making, two
Prerequisites for survival. We insist that affected communities must decide for themselves what traditions to
maintain - and how fast to change others - as they deal with changes in the society around them. We Trespond to appeals
from local endangered communities with specialized expertise, especially in research and communications, that
enable communities to achieve self-sufficiency as quickly as possible through enhanced access to information from
related agencies and other traditional communities in Sri Lanka and globally via Cultural Survival’s expanding
information network. S

Cultural Survival resource management programmes also enhance the ability of traditional communities to
secure land rights and manage natural resources. Cultural Survival funding and technical assistance to small-scale
efforts helps them to strengthen traditional institutions, enabling them to act as models for other groups facing
common threats.

Cultural Survival links research to action on behalf of threatened communities as they shape their future and
protect their cultural and natural resources. Our local and international information network brings together
traditional spokespeople, scholars, and representatives of other concemed agencies.

Cultural Survival education and publicity programmes disseminate crucial information through modern com-
Munications media, helping both the public and private sectors to respond appropriately to local needs and
aspirations. We present professional papers, public lectures, television and newspaper coverage and special events
for schools, policy makers, community groups and the media. Whenever feasible, we help to create and implement
culturally-sensitive government policies through direct representation on govemment policy boards such as the
Wannietto Trust and the National Committee for the International Year forthe World’s Indigenous People under the
Ministry for Environment and Parliamentary Affairs.

I returned sure: but confused untill
I stood on the 4th floor in the

_ started as a child of 11-12-13
with friends. started the Neo. Arts Group of
Nipawin, Saskatchewan, Canada,

The world.

to me an interesting thing is

How the process of being
a student negates
your (my) previous status as a person.

while I was a practicing
student in Sri Lanka

I (ignorantly and innocently)
assumed the role of School
ambassador representative

of my people my past.

Northamerica, So I found my challenge

was to make myself
visible in invisible ways

new south building, I
saw....(another story)
myself visible

within my mind

as an Emissary
legitimately
representing

Queens, Kings, Governments
Universities

villages

people

myself

And this I hope will build a
good image to work and play
in an artistic way

CANADA

Beat ale Mera Besser) Inert
Simpson

WILLIAM BRADLEY

CANADIAN/ CANADIENNE

Od he trv croc
‘ 22 JULY/JUIL 51
" SASKATOON CAN

23 AUG /AOOT 93 VANCOUVER

23 AUG /AOOT 98

P<CANSIMPSON- WILLIAM<BRADLEY <<<ccccccceccce
WY206992<OCAI. 1072259808232 <<<ccccccccecc Oy

L had to commit ayself to a definition of the vord art and this

to prove ayself to tho satisfaction of others for appreval and fg
Find or cea ueve'thae art is a verbs

Noy we have the problem of identifying the product of one
That is) as ay close friond Kevin Rae points out, f can not
see the back of ay head. Through the use of sy denses. that

Intended purpose or why do. anything? The act itself say.

Maybe successful art counteracts the behavior which has been
ingrained by enforced institutional. standards snd Lepiciel ses
disbelier in our sockety I've heard it said that successful
ares arc which Is doing what it vas intended to do.

Whave found this to be true for we. So I wish £0 know nothing.

1 accepted the challenge given me by the institution by cHoosing
folwork wich {elas a/nediin, Tove chosen, 4 pate that, Setleves

i diversity. That is, to aucvive as a being on a planet that
Tpelieve to be a being, in'a cosmos that 1 believe to be
Being, I mse support and encourage an ever groving diversity
OF Iife and acknoviedge death as another beler

To, tapy we you sd ae Marcod as a child of 11-13-13

Student in'sri" Lanka
Assumed the fole of Schoo!

Shame" as to make myself

(CULTURAL SURVIVAL OF SRLLANKA

What i CatraServiatt

us gen Cat Sura Lanka ep gos pm oe an
\Funnagana communes ace cunt an ema br peo tno ofiingecoopea oat
‘Releonmuncto ecquir wh trun cusps ne Sedoc bcios ag ps ek
‘it mange pcr wadoa Sn aa soe ern scsi undesanase sensd
Women epuson

Wemaain dau verity onto be pees soca ers foray rnd SeiLanainpariat
‘Sexinriaary welhewowed nts wapect Alto en, however nhac cane ie tad and
{sts of oer vce. gas have te nog ahr neha sean merce
award apps adnate raced sosecs. Ths sandoment of xc aves wos
‘Stee yeas meclemid w eae 1ocal nme! vc shar toned seeing ow fr a
'bleance snd unde coer wie cnugvnss pee sn oe eee

Monove be ols nite penpetive has ng nied Maman tie ne na envied
seat tun pee aoe compen ing nent oboe ny Serpe foes oace
Stern oi emmtretere omenrienecr ey agen ong
‘itn weeps Zz aa)

‘Tasavares fal pyrecaca oro caecne npn xe casos fo eames
slonimane bre aici ns anger wae ey pT

Ine mane of development nl progestin ples sn ead communes hve and rate
‘anus anc oer ex ovnlves The cnsnurcs ae becouse, ep npn,
[Ertem "sl coat adervromeal devas oA Both Gears ven

(Coltrl Sarviral te opnisason des acne car sive conp. oe mater of aging
‘sways bt aes» qn eating peopl to ere eon fue ined sod gnee 08 ae
‘ing ada socees Rar communes yb dpsed nmyy bcs ey Se ea cpg
{pee Developmen proncumay deny wie commune ie me of ooned noo of epee

lusead of aco erwee gover and evinmentl esicn, Cs Siva ps dior commas
‘Gdeirandanlenen nt own curly wv propane Therefor wceesdnpe nis dca
‘ier anaes vicineaon by coc tnd lop pejus, Cl Sura pepe,
‘Stinpwedty acomerjence oe ccal eds fe modem so hana ips eaten od
Soci ivelpmen

‘Cohurl Survival parr with waiter! commen ose soonemy i oc esos. 0
[measies for tal ‘We si ths afered communes mak Sede br Hemsivs wa aloes
[Suita andhow ftiocugeoder hey Gea wnchange be ay wound bem, Wemspecoapeas
{moe endangered commas nih Scans experts, yey rscah sd commer, at
‘Gute communes atneve selfs a qu posse tnaph cna esos et
‘laed agencies and ober unhonalConminssn Sh nt play va Cul Suvi enpng
‘somatsenewor :

Guturl Survival source management programmes euch aiay of doa commas to
‘eer gs wd mange rar rss Carl Sonal unig idea sane sl le
‘ifr tele bent eng Union naan ening tem smo et yoo Fg

atu Serv ny en acon ei tears ies ey Soe et te
Fact be cra wet rr mses Ow cl td eras irsaion ceven as pet
rns sptespope, coun. sn epee of be cence apes ad

Cotaa Survival education na pity programmes semi rca inomato nap ade om
‘mancatens med, hlpeg bo be pal private son 9 raped sppopnaly el weds nd

7
‘its seve goverma plc tags cet pesenaon ov goverment oy Dost ach st be
1 returned sure: but confused untéit

‘Stood on the 4th floor inthe
new south butiding, 1

Syseif visibte,

your (ay) previous status as a person. within ay wind

i stnocentiy) + Governments

Byselt
So 1 found ay chatlenge ‘And this 1 hope will build a
food ieage tov sork and play