Amy Malbeuf: kayâs-ago

Amy Malbeuf RBC New Works Gallery Art Gallery of Alberta September 6 - November 16, 2014

Mouth to mouth, hand to hand, eye to eye… mitôn isi mitônihk, micihciy isi micihcîhk, miskîsik isi miskîsikohk…

Little wheel, spin and spin ê-apisîsit wâsakâpayîs, wâsakâpayi êkwa wâsakâpayi Big wheel, turn around and around… ê-misi-kitit wâsakâpayîs kwêskipayi êkwa kwêskipayi ~Buffy St. Marie An artist’s practice is a complex form of research, often non-linear in process, something like a circle, motivated by curiosity. For Amy Malbeuf, kayâs-ago is an intersection of visual, material, and cultural research. Drawing upon personal experience, the works in this exhibition arise from the subtlety and complexity of language. osihcikêw osîhcikêwin ohci ê-nihtâwêyihtahk nitawâcîhtâwin, pîtos kâkî-isi-nisitohtacikâtew, tâpiskôc kîkwây kâ-wâwêyak ê-sihkiskâkot êkwa ê-nohtê-kiskêyihtamihk. Amy Malbeuf, ohci wiya, kayâs-ago ê-wihtâpisômakahki kîkwaya ê-isi-wâpahtamihk, ê-itakoniyihki, êkwa iyiniw nitwâcihtwâwin. wîsta ê-isi-kiskêyihtâmâsot, atoskêwin ôma kâwâpahtihiwêhk âyiman pîkiskwêwin.

In kayâs-ago, meaning “along time ago” in Cree slang, select words and phrases are tufted in English, Nehiyawewin (Cree), Cree slang, and Michif. Michif is the language of the Métis people, evolved from the French, English, Cree, Dene, and sometimes other Indigenous languages. This selection of languages exemplifies her lived experience as a Métis person from northern Alberta. kayâs-ago, itwêmakan “a long time ago” nêhiyawi-wihkitinâmowin, pîkiskwêwinisa êkwa kâ-isi-pîkiskwêhk ê-piskwahpitêhki ôta akayâsimohk, ê-piskwahpitêhki nêhiyawi-wihkitinâmowin, êkwa Michif. Michif 3

kayâs-ago, 2013 Sculpted natural caribou hair on light panel 61 x 1.3 cm

anima pîkiskêwin ohci otipêyimisowak, ê-ohcîmakahk ohci wêmistikôsîmowin, akayâsîmowin, nêhiyawêwin, ocipiwêyânîmowin, êkwa askaw kotaka nistam iyiniw pîkiskwêwina. êkoni kânawasônamihk pîkiskwêwina kiskinohamâkon ê-kî-isi-pimâtisit otipêyimisow kîwêtinohk Alberta ohci.

These works are a collision of old and new schools, cultures, and worldviews. This exhibition refreshes a traditional craft practice, as it brings forward contemporary concerns of Indigeneity, identity, cultural reclamation and language revitalization. kayâsago pushes the boundaries of art and craft, and acknowledges the power of word. ôhi osîhcikêwina namôya wîcêtomakana kayâs êkwa oskikiskinohamâkisowina isîhtwâwina êkwa itêyihtamowina. ê-isi-wâpahtamihk kâwê-pimâtisîmakan kayâs-isîhcikêwin, kikiskisowikihonaw kîkway tânisi kâ-itêyihtamahk, nistam iyiniwin kiskêyihtâkosiwin, iyiniwa isîhcikêwin kâwê-ka-tipêyihtamâsohk êkwa pîkiskwêwin mîna kâwê-ka-tipêyihtamâsohk. kayâs-ago

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ê-kwêskinahk ô-nihtâ-osîhcikêwin êkwa kiskêyihtâkwan iyikohk ê-isi-sohkîmakahk pîkiskwêwinis.

Tufting is a textile art form that likely developed from hair embroidery and appliqué. Hair embroidery is a unique craft that originates from northern Indigenous cultures where caribou, moose and other ungulate populations were abundant. piskwahpicikêwin anima ayânis osihcikêwinis ê-ohcîmakahk ohci mêscakâs-masinistahikêwin êkwa nanâcohkikwâcêsiwin. mêscakâsmasinistahikêwin ê-ohcîmakahk ohci kîwêtinohk nistam iyiniw isîhtwâwin ita atihk, môswa, êkwa kotakak pisiskiwak askasiy ita ê-kî-ayâcik.

Historically, many northern cultures were reliant on such animals for their livelihoods. As such, these diverse groups developed specific knowledge systems, skills, and material cultures and aesthetics based on the hunting and processing of these animals’ meats and byproducts.

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kayâsispayiwin, mihcêt ohci kîwêtinohk isîhtwâwina kî-manihowak ôhi pisiskiwa ohci ô-pimâtisiwiniwâw. êkonihk ôhi pâpîtos itwâwina kî-pê-ohcîmakana pâpîtos kiskêyihtamowina nakacîhtwâwin, kîkway kâ-osîhtahk kâkatawasisik ê-ohcîmakahki mâcîwinihk ohci êkwa kîkway kâ-osîhtâhk ohci pisiskowîyâs êkwa kotaka mîciwina.

The advent of European contact with Indigenous groups in Canada influenced the development of textile art in these lands.

The influence of various European embroidery styles, specifically French embroidery, and the availability of materials such as silk and glass beads due to trade, created unique advancements in crafts such as hair embroidery and tufting.

European ispî kâkî-tawiskawât nistamiyiniwa ôta kâkanâtahk mêtoni opwênam ayiwâk kôsihtâhk ayânis osihcikêwinis ôta askîhk. êkwa ê-ohcipayik ohci European masinistahikêwin, wêmistikôsîmowin masinistahikêwin, êkwa kîspin kâ-itakoki kotaka kîkwaywa tâpiskôc sênipânêkin, êkwa mîkisak ohci mêskitônikêwin, êkwa ohci ayiwâk ka-takahkisihtâhk osihcikêwinisa tâpiskôc mêscakâs masinistahikêwin êkwa piskwahpicikêwin The development of tufting has often been attributed to a Métis woman from the Northwest Territories, Mrs. Boniface Lafferty in the early 1900s. Her artistic influence prompted a distinctive textile style to be shared and fostered by many northern craftspersons and communities to this day. êwako ôma kâ-itamihk piskwahpicikêwin ê-kîkiskêyihtâkwak ohci otipêyimisow iskwêw ohci Northwest Territories, Mrs Boniface Lafferty nânitaw 1900’s. otakahki-osihcikêwin mêtoni opwênam ayânis osihcikêwinis kamatinamâtohk êkwa mihcêt kîwêtinohk ohci osihcikêwiyiniwak apacihtâwak êkwa mâmawâyâwina anohc kâkîsikâk

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Like many craft practices, tufting is often taught in person, by way of hands on and oral transmission. For many people, the stories shared while crafting is just as important as the techniques exchanged. tâpiskôc mihcêt osihcikêwina, piswahpicikêwin piko ka-iyinitokiskinohamâkêt ayisiyiniw, ka-iyinito-kiskinohamâkêw. mihcêt ayisiniwak , âcimowina ôhi kâmâtinamâkêhk kâ-mêkwâ-osihcikêhk kêyâpic ispihtêyihtakwanwa This is how cultural knowledge is passed on from one person to another, from one generation to the next. Style and aesthetic sensibilities are also exchanged in this manner, evolving from mouth to mouth, hand to hand, eye to eye. êkosi ôma isihtwâwin ê-isi-âsônamâkêhk, âniskac ê-âsônamâkêhk. tânisi ka-isînîkatamihk êkwa takahkisihcikêwin êkota ohci kamêskotônikâtêki, ê-ohcimakahki ohci mitônihk isi mitônihk, micihcîhk isi micihicîhk, miskîsikohk isi miskîsikohk In this way, Amy has also learned such practices. For kayâsago, Amy uses tufting and sculpturing– techniques she learned from Ruby Sweetman, an expert in traditional Native arts from northern Alberta. êkosi ôma, Amy ê-isi-kiskêyihtamâsot isihtwâwina. kayâs-ago ohci, Amy kî-pê-apacihtâw piskwahpicikêwin êkwa môhkocikêwin ê-kîkiskinohamâkot Ruby Sweetman, ê-nakacihtât kayâs ohci isihtwâwinihk kîwêtinohk Alberta ohci.

The technique of tufting stitches bundles of moose hair onto a cloth surface to create a pompom like form. The bundle of hair is then shaped with scissors to create a tuft. The tufts are often augmented by embroidery or beading, and most commonly applied to canvas, velvet, leather, or bark. Unlike tufting, sculpturing keeps the hide and hair intact. Shapes are traced then cut from the hide, the hair shaped with scissors.

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kâ-isi-itohtamihk ôma kâ-piskwahpicikahtêki môswa wîscakâsa isi pakwânêkinohk ka-osîhiht pompom ê-isinâkosit tâpiskôc. êkoni êkwa ôhi mêscakâsa kâ-astâpitêki ê-isihcikâsot isi piskwahpickêwinis. piskwahpicikêwina ôhi ê-ayiwâkitakahkisihcikâtêhki êkota kâ-masinistahikêhk ahpô kâ-mîkiskahcikêhk, êkwa ayisk mîna âpatan pakwânikamikwêkinohk, sôskwêkinohk, pahkêkinohk, ahpô wayakêskohk. namôya tâpiskôc piskwahpicikêwin, môhkocikêwin kâpacihtâhk pahkêkin êkwa mîscakâsa ka-ahkwahpitêki. onanâtohkosihcikêwina tâpaskinahikâtêwa êkwa manisikâtêwa ohci pahkêkinohk, mîscakâsa nanâtohk ê-itsâwâtamihk ê-apacihtâhk paskwâmâtowin.

The sculpted forms are then stitched onto a surface. Though historical applications of tufting or sculpturing were meant as decorative embellishments to hide clothing, contemporary works are often seen as domestic wall pieces that depict beautiful floral arrangements and patterns, or scenes of quaint rural life and landscapes. êkoni êkwa môhkocikêwina ascikwâtêwa mohcihk. âta kayâsispayiwin ê-itâpatamihk tâpiskôc piskwahpicikêwin ahpô môhkocikêwin ê-kî-âpatakihk kêsi-wawêyisî êkâ ka-nohkwak pakwânêkin, anohc osihcikêwin âpacihcikâtêw ê-akwahamihk tâpiskôc ê-katawasisiki wâpikwaniya êkwa ayîsihcikan, ahpô ê-takahkinâkwahk wayawîhtimôtênâhk pimâtisiwin êkwa wâsakâm wîkiwinihk

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âcimisowina ê-ascikwâtêki ê-wâwêyâki pakwânêkinohk, êkoni êkwa kâpatanwa kawapahtamihk ê-isi-wâsaskotêmakahki The circular form of these works, are reminiscent of embroidery hoops. While the form speaks of the craft’s materiality and process, Amy sees the circle more as a metaphor. To her, the circle symbolizes “a very soft, organic, feminine shape… that can be read in many ways: a circle of life, a portal, a void… in terms of Native culture [the circle] is so important for medicine wheel teachings, the drum, [and so on]. It’s a repeated motif.” êkoni ôhi kâ-wâsakâstêki pakwânêkinwa, ê-kiskisihikohk masinistahikêwin kâ-wâwêyâhki. êkoni ôhi kâ-wâsakâstêki kâitwêmakahki, pîtos ôhi âcimowinisa ê-itwêmakaniyik Amy ohci. wiya ohci kâ-wâwêyâhk itwêmakaniyiw mêtoni ê-yôskâhk iyinito iskwêwitâkiyawêwin pîtos kâ-kîsi-nitohtacikâtêw: pimâtisiwin kâ-isi-wayanîtotamihk kâkîwêtotamihk, kêsi-pîhtohkwê, ê-tatawâk…wiyawâw ohci nistam iyiniwak isihcikêwiniwâw ê-ispihtêyihtâkwak iyiniw-kiskêyihtamowina mistikwaskîhk, [êkwa kotakak kîkwaya]. ê-kâ-kîhtwâm nisitotamihk ayîsihcikan.

As a gesture towards expanding the visual vocabulary and materiality of this medium, Amy abandons the typical decorative motifs in exchange for words–narratives stitched onto circular light panels, which when installed in the gallery, are illuminated.

The words Amy has chosen for each circular work are poignant statements that describe contemporary Indigenous life. The phrases are drawn from multiple perspectives and individual voices within Aboriginal communities. They are sourced from conversations, books, historical figures, Amy’s own musings and a variety of other media–tinged with humour, sadness, and deep thoughtfulness. Together the individual works operate as a whole, the final installation arranged intuitively as clusters of circles that create conversation amongst each other.

ayiwâk kêsi-nisitohtamihk kâ-isi-wâpahtamihk êkwa kâ-isikiskêyihtamihk êwako ôma atoskêwin, Amy pîtos isihcikêwinihk ohci ê-âpacihtât pîkiskwêwina –

itwêwina ôhi Amy kâ-nawasônahk ohci kâ-wâwêyâhki wâpahcikêwina ê-ispihtêyihtâkwaki ki-wîhtamâkonaw mêkwâc ôma iyiniw pimâtisiwin. itwêwina ôhi 9

D. Cardinal (We may be oppressed, but at least we aren’t depressed!), 2013 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm

ohci mihcêt itêyihtamowina êkwa pâ-piskic itêyihtamowina ohci nistam iyiniw mâmawitowina. ê-itohtêmakâki ohci pîkiskwâtowina masinahikana, kayâsispayiwin kayâsiyiniwak, Amy kâ-isimâmitonêyihtahk êkwa mihcêt kotaka âcimostâkêwina—ê-pê-kikîpayik wâ-wiyêyihtamowin, pîkiskâtikosiwin, mâmitonêyihtamowin. kâ-mâmawastâhk ôhi wâpahcikêwina pêyak itwêmakana, iskwêyâc ôma kâ-wî-wâpahtihiwêk ê-itasicikâtêk tâpiskôc ê-asâstêki-wâwêyahk iyinito ê-wîcipîkiskwêmitôtamâkihk.

Statements such as “Otipemisiwak” meaning “the people who rule themselves” in Nehiyawewin, and augmented by the famous Louis Riel1 quote, “My people will sleep for a hundred years and when they awake it will be the artists who give them their spirits back” are reflective of the Métis’ strong cultural identity. itwêwina tâpiskôc “Otipêmisiwak” itwêmâkan “the people who rule themselves” kâ-nêhiyawêhk êkwa ê-ayiwâkêyihtâkwahk kâ-kihcêyihtâkosit Louis Riel kî-itwêw “nitayisîyinîmak ka-nipâwak mitahtâtomitanaw êkwa waniskâtwâwi aniki ô-nihtâ-osîhcikêwiyiniwak kâ-kîwêtitotâhkik otâcahkomiwâwa” ê-isi-wâpamisocik âpihtawikosisânak isihtwâwiniwâw ê-sôhkaniyik.

Other phrases like “We may be oppressed, but at least we aren’t depressed!” are optimistically honest about the dire impacts of systemic racism and colonialization. Such a statement demonstrates resiliency and strength of spirit that would make Louis Riel proud. kotakak itwêwina tâpiskôc “ki-tipêyimikawinaw, mâka âtawiya namôya kikaskêyihtamâyânaw” ka-pakosêyimohk êkwa ka-kwayaskwâtisihk ohci kâ-kî-mayitôtâkôsiyahk ê-kî-ayimîkôsiyâhk êkwa ka-pimi-tipêyimikosiyahk. ôma itwêwin kiwâpahtihikôsinaw namôya ê-pômêyahk ê-kikiskamahk sôhki-ahcahkiwêwin ê-ayâyahk kâmâmîcihikow Louis Riel.

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Another phrase describes an unrealized longing to learn Michif and the reality of lateral racism. This quote reads, “My first language is English, I wish it was another language. I wish it was Michif. This is a complex issue that we’re dealing with, and I don’t know how to explain it. Our own people are not allowing us to learn our language.” kotak itwêwin kiwîhtamâkonaw iyikohk ê-akâwâtêyihtamâhk ka-kiskinohamâkosiyahk Michif, êkwa kâ-kî-mayi-tôtâkôsiyahk ê-ayimîkôsiyâhk. ê itwêmakan “ninistami-pîkiskwêwin ôma âkayâsîmowin, nikâpakosêyimon kotak pîkiskwêwin. nikâpakosêyimon Michif. mêtoni ôma kitayamîkonaw êkwa namôya nikiskêyihtên kêsi-kwayask âcimôtitâyân. ahpô kitayisînîminawak namôya ê-nitawêyihtâhkik ka-kiskêyihtamahk kipîkiskwêwininaw.

Every work in the exhibition is tufted in the language that they were spoken in, except for this phrase. It has been translated from English to Michif. Amy sees this gesture as “granting [the speaker’s] wish” to speak Michif, to represent the remaining two hundred Michif speakers, and all those engaged in language revitalization efforts. tahto osîhcikêwin ê-isi-wâpahtamihk ê-piskwahpicikâtêhk pîkiskwêwinihk ê-kî-isi-pîkiskwêhk, mâka namôya wiya ôma itwêwin. omisi-itwêmâkan ka-akâyâsîmohk isi Michif. Amy ê-isi-wâpahtahk ôma isiniskêwin kisik, “ê-pakitinikâsot awa kâpîkiskwêt kâ-isi-pakosêyimot” kâ-pîkiskwêt Michif, kâ-pîkiskwêstamawât nîswâw mitâtahtomitanaw Michif opîkiskwêwa, êkwa kahkiyaw kâ-wîcîhtâsocik ka-âpahtâki pîkiskwêwina.

This gesture also acknowledges Amy’s desire to learn Michif, and to “not let it die.” Despite the somber realities of cultural loss, Amy’s work reminds the viewer of the awe inspiring and inexplicable nature of the universe. The quote, “Fucking magic everywhere” punctuates this wonder with its light.

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kanawâpahtâhkik kayâs-ago ka-sihkiskâkowak ôhi itwêwina.

To Amy, it is important to “acknowledge that we [Aboriginal people] have names, that we are individuals, and that we have very unique and individual perspectives.” She does this by assigning each tufted work a title that directly refers to the name of the speaker. In doing this, kayâs-ago emphasizes that there are not just distinct Indigenous cultural groups and First Nations, but that these specific communities are made up of unique persons and voices.

D. Cardinal (We may be oppressed, but at least we aren’t depressed!), 2013 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm 14

ôma mâtinamâkêwin ê-masinisiniyik Amy opakosêyimowin kâkiskinohamâsot Michif, êkwa “namôya kapônâpahtahk.” âta kiyâm tâpwê êkosi ê-ati-ayîhkik ê-ati-wanihtâhk isihtwâwina, Amy osîhcikêwin kikiskisomikonaw kîyânaw ôma owâpahcikêwak iyikohk ê-mâmaskâcihcikâtêk misiwêtêskamik. êwako ôma itwêwin “F_____ ê-mâmaskâtêyihtâkwak pîkwihtê.” ê-nohtê-wâpahtihiwêt iyikohk ê-nânâtawâstêyâk.

The sentiments shared in kayâs-ago have “illuminated” Amy’s life in one way or another. Each quote offers a realistic glimpse into the varied worldviews of individual Indigenous persons. It is her hope that viewers of kayâs-ago will also be inspired by these words. môsihtâwina ka-mâtinamakêhk ôta kayâs-ago wâpahtihikow Amy opimâtisiwin omisîsi ahpô kotak iyisi. pêyak itwêwin kimiyikonaw tâpwê kêsi-wâpahtamahk kotâka kâ-itêyihtahkik pâ-pêyako-iyiniwak. pakosêyimow êkonik ôki kâ-

Amy otêyihtâmowin, ê-ispihtêyihtâkwak “ka-mamihcitotamihk kiyânaw nistamiyiniwak ê-wîhowiniyahk, ê-isi-pahpêyakoyahk, pêywâyahk isi piko ê-isiwâpahtamahk. êkosi isihcikâtam tahto piskwahpicikêwin ê-kwayaskitastêhk ôwîhowina ôki kâ-pîkiskwêcik Michif. êkosi ôma kâ-itôtahk kayâs-ago kisîhkiskâkonaw namôya têpiyahk ê-itakohki iyiniwak isîhtwâwina êkwa nistamiyiniwak, mâka iyinitoayisiyiniwak êkwa opêhtâkosiniwâw otâyawak ôhi mêtoni kêhcinâ mâmawinitowina Amy’s personality is obviously seen in her contemporary tufting style. Like Morrisseau’s description of the “four corners of the universe,” Amy’s approach to art making is non-linear, and offers no resolution. In that sense, kayâs-ago is more about exploration and process, not so much about the beginning or ending of a story.

Amy otisâyâwin wâpahcikâtêyiw opiskwahpicikêwinihk. tâpiskôc Morrisseau ê-isi-âcimotatât ôta “four corners of the universe,” Amy êkosi itôtam osîhcikêwin namôya kwayask-itamon, êkwa namôya mistahi kiwîhtamâkonaw. êkosi isi ôma kayâs-ago ka-nêtawaskêhk êkwa kikiskinotahikonaw, namôya wîya nîkân ahpô kisipanohk âcimowinihk.

Angela Marie Schenstead

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Footnote 1. Louis Riel was the founder of Manitoba and leader of the Métis people of the Canadian prairies.

Though he is the only man tried and hung for treason in Canadian history for leading the Red River Rebellion (1869-70) and North-West Rebellion (1885), he is regarded as a hero by many Métis peoples to this day.

References Farrell Racette, Sherry. Sewing Ourselves Together: Clothing. Decorative Arts and the Expression of Metis and Half Breed Identity, Diss. University of Manitoba, 2004.

Turner, Geoffrey. Hair Embroidery in Siberia and North America. Oxford: Pitt Rivers Museum, University of Oxford. 1955. Print.

Neyman, Jenny. “Dyed Delights–Native tufting craft turns hide hair into fancy, colourful affair.” The Mouth of The Kenai. The Redoubt Reporter, 30 March 2011.

Web. https://redoubtreporter.wordpress.com/2011/03/30/dyed-delights-—%C2%A0nativetufting-craft-turns-hide-hair-into-fancy-colorful-affair/ Sweetman, Ruby. “Tanning Tools.” Youtube. Portage College, 2014.

Video. http://www.youtube.com/watch?v=HR-zbr215po

“Commercially Tanned Hide.” Youtube. Portage College, 2014.

Video. http://www.youtube.com/watch?v=myINCmIXij0 “Commercial Tanned Fur.” Youtube. Portage College, 2014.

Video. http://www.youtube.com/watch?v=qo56O163b7s “Home Tanned Hides.” Youtube. Portage College, 2014.

Video. http://www.youtube.com/watch?v=qo56O163b7s “Caribou and Moose Hair Tufting.” Portage College Museum of Aboriginal Art and Artifacts.

Portage College. Web. http://www.portagecollege.ca/museum/tufting.htm

“Louis Riel.” The Northwest Resistance. University of Saskatchewan Libraries and University Archives. Web. http://library.usask.ca/northwest/background/riel.htm “Tufting.” Northwest Territories Art. Northwest Territories Art Council, 2014.

Web. http://nwtarts.com/tufting Interviews Amy Malbeuf. Skype. May 14 2014.

Amy Malbeuf. Skype. June 5 2014.

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Artist Biography Amy Malbeuf is a multidisciplinary visual artist from Rich Lake, Alberta. Malbeuf’s work focuses on notions of identity, place, language, history, spirituality, and ecology.

Through her art practice she examines the relationships between humanity and nature; deconstructs popular misunderstandings of Indigeneity; and explores the complicated intersections between race and culture. She utilizes a variety of mediums including performance, installation, sculpture, caribou hair tufting, beadwork, and digital media.

Malbeuf has attended many artist residencies in Canada, the United States and Australia, and has exhibited and performed nationally.

Writer Biography Angela Marie Schenstead (Cree, Ukrainian, German ancestry) was born and raised in Saskatoon, is a member of One Arrow First Nation, and has been a resident of Alberta since 1998. She earned a Fine Art Diploma from Grant MacEwan University, Edmonton, and a Bachelor of Fine Art in Ceramics from Alberta College of Art + Design, Calgary.

She has been a resident artist at Medalta, Medicine Hat, and Bruno Arts Bank, Bruno.

She has participated in the Studio Work Study program in Visual Arts, The Banff Centre, and has worked as their Program Coordinator since 2008. In 2012, she independently curated FIRE at Stride Gallery, Calgary, and her art work was included in the group show Indigeneity at The Works Festival, Edmonton. Angela now calls Banff home, where she pursues her practice as an artist and writer.

Translator Biography Dorothy Thunder: Tân’si Dorothy Thunder nitisiyihkâson. Little Pine First Nation, Saskatchewan ohci nîya – kahkiyaw kitatamiskâtinâwâw. (Hello, my name is Dorothy Thunder. I am from Little Pine First Nation, SK. I greet all of you!) Thunder’s passion for the Cree language began at the University of Alberta, where she completed her BA in Native Studies. After years of teaching Cree for the University of Alberta’s Faculty of Native Studies and taking courses through the Canadian Indigenous Languages and Literacy Development Institute (CILLDI), Thunder is pursuing a Specialized M.Sc. in Cree Linguistics.

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List of Works kayâs-ago, 2013 Sculpted natural caribou hair on light panel 61 x 1.3 cm

L. Makokis (Our voices were silenced…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm

oma, 2013 Sculpted natural caribou hair on light panel 61 x 1.3 cm

L. Riel (My people will sleep for a hundred years…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm

D. Cardinal (We may be oppressed, but at least we aren’t depressed!), 2013 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm K. Statnyk (Too clean), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm Not Even, 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm More nativer than you!, 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm Otipemisiwak, 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm E. Malbeuf (Brisk on the cisk!), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm J. Rickard (touristic imaginaries), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm A. Weasel Head, (LSHTMHFOAIDMB), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm N. Trimble (Fuckin magic everywhere), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm W. Scott, (A loud square voice that is completely silent), 2014 Sculpted natural caribou hair on light panel 30.5 x 1.3 cm

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R.W. Hill (A Cree person is not the opposite of a European person…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm

The RBC New Works Gallery features new works by Alberta artists. Initiated in 1998 and named the RBC New Works Gallery in 2008, this gallery space continues the Art Gallery of Alberta’s commitment to supporting Alberta artists.

J. Malbeuf (I am so disgusted with most culture…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm A. Okrusko (With each generation…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm S. Alexis (In the Great American Indian novel…), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm Misha (Carrying the tribal heritage of Métis), 2014 Sculpted natural caribou hair on light panel 61 x 1.3 cm C. Ladoucer, (L’Aañglee saasii ma premyer…), 2014 Sculpted natural caribou hair on light panel 91.4 x 1.3 cm

© Art Gallery of Alberta 2014 ISBN: 978-1-77179-008-6 Editor: Catherine Crowston Curator: Kristy Trinier Design: Cut+Paste Design Inc. and Charles Cousins Photography: Jordan Bennett Essay: Angela Marie Schenstead Cree translation: Dorothy Thunder Printing: Burke Group Printed in Canada The Art Gallery of Alberta is grateful for the generous support of our many public and private donors and sponsors, as well as the ongoing support of the City of Edmonton, the Edmonton Arts Council, the Alberta Foundation for the Arts and the Canada Council for the Arts.

R. Wagamese (deep, comfortable…), 2014 Sculpted natural caribou hair on light panel 91.4 x 1.3 cm N. Morrisseau (This is the four corners of the universe…), 2014 Sculpted natural caribou hair on light panel 91.4 x 1.3 cm L. Little Bear (This is the Native mind), 2014 Sculpted natural caribou hair on light panel 91.4 x 1.3 cm All works collection of the artist

Front Cover Image kayâs-ago, (detail), 2013 Sculpted natural caribou hair on light panel 61 x 1.3 cm