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"Canadian Contemporary (1980-present)"
Night Landing Mask
The fiberglas mask has airplane wings extending from either side with chicken bones suspended by wires on the underside. The fiberglas surface is drawn overall with a prairie landscape. Airport runway lights and a full moon are visible through the goggles. Coloured circular insets below the goggles represent an airplane control panel. The mask is set on a turntable
Central image of an airplane on brilliant orange background
Phoenix Wings and Horse Masks from Phoenix
Horse's head with wing on either side
Soft Couch with Bushes and Streamers
Interior setting showing streamers overhanging a couch, in front of which are two small bushes.
To the End of Time
The work is a statement of the effect of the white influence on the prairies as well as evident of the persistence of the Indian culture on the prairies in the present decade. The colours are vibrant and the patterns traditional. The artist combines a formalist attitude to art-making with traditional designs.
Reclining aboriginal male, laying on his right side, nude from the waist up
How Long Does it Take any One Voice to Reach Another
Sculpture consists of three steel squares hinged together side by side. The squares are painted black with intermittent red splotches. The left square has a vertical slit cut through the centre. The right square is penetrated by a megaphone shaped piece of metal.
Mounties & Indians
Rectangular piece of blue plexiglass divided in half. Adhered to top half is a colour photograph of six people. It is a full length frontal portrait of two mounties and four natives (two female and two male) standing on a sidewalk. The bottom half of the work bears the words : MOUNTIES & INDIANS (in yellow, white, and grey).
Shaman Never Die: Return to Your Ancestral Roots
Three panels, side by side, within one wooden frame. They have the effect of school chalkboards, with lettering, painting, and collage elements layered over blackness. Panel at left: Two prayers are written - one in Cree syllabics, the other in English. Centre panel: Five figures in a line beneath the words 'Preserve our Language and Culture'. Along bottom of theis panel are the words 'Shaman Never Die' - written 3 times and extending into the right panel. Panel at right: A collage of newspaper clippings and book pages superimposed by a large white outline drawing of a figure.
Multi-coloured abstraction using impasto
Work consists of 12 photographs with 12 corresponding text panels and 12 corresponding videos for television on the colour videotape, with the following titles: Musical Vendor; Spectated Man; Sneeze; Male Naysayer; Female Naysayer; Lit Lot; My Attention; Answering Machine; No Problem; Funny Bus; Box Office; Slap Happy. Each photograph and its accompanying text panel are matted together. Each text panel describes in detail the corresponding video.
The Great Race
Series of steers' heads in black, rust and brown strewn over the canvas. Some have open eyes; others are closed. At top centre, in small scale, is a native male dressed in a long garment, holding feathers and with what appears to be roller skates on his feet. At bottom centre, is a magpie perched on a steer's head. Protruding from either side of the steer's nose, is a jagged arrow.
The installation is comprised of three acrylic on canvas paintings hung on wallpaper-covered walls. Each painting is inscribed with the word AIDS which is a play on Robert Indiana's LOVE. The paintings are in bold colours - (a) red lettering on blue and green ground, (b) green lettering on red and purple ground, (c) dark blue lettering on yellow and red ground. The silkscreened wall paper is similarly coloured and repeats the word AIDS.
Mackerel on which layer upon layer of white acrylic has been applied resulting in a sculptural-like, abstract object.
L #58 Aquaduct
Aquaduct rendered in quick, expressionist brushstrokes in colours of gold, yellow, brown, red, blue and black
Granite boulder which has been engraved with undulating lines
Mother and Child
Loosely painted work of a seated woman with a nude child at her feet on a yellow background. The figures are outlined in brown.
Stylized dress in the form of spreading roots with a trunk-like center
St. Croix Rider
A woman (wife of the artist) mounted on a horse in a hilly landscape. In the background is a snow-covered field whereas the foreground is bare with evergreens. The scene is St Croix, Nova Scotia.
Rotterdam Pioneers New Technologies for the Subterranean Eco-suburb, an Environment with Clean Air, Clean Water and Abundant Daily Sunshine
Bird’s eye view of Rotterdam, Holland in the future, depicting futuristic buildings.
Background is blue. At the top left is a red, horizontal stripe. Along the right edge is a vertical red stripe. Along the bottom is a yellow stripe, a black stripe and white stripe.A “pagan” figure is the central image. On what appears to be a man’s head, is the skull of a cow. The figure’s face is painted and it has a very large right eye. The bones of the rib cage, pelvic area and feet are all visible. The hands have numerous silver rings on them together with numerous silver bracelets on the arms. In front of the figure, is a baby in a papoose on a blanket.
This piece is one of the “guests” from The Extended Wedding Party work. A woman’s garment, shoes and hat is contained in a metal Queen Bee Excluder garment bag and has been embroidered by the bees.
Buffalo Bone China
Installation consists of eight antique finish industrial stanchions, red rope and nylon ribbons, 60 pounds of smashed British fine bone china and two copies of the video on a one hour loop. The centre of the installation is a pile of fractured British fine bone china placed inside a circle that has been constructed by red rope and stanchions. The centre represents a metaphoric sacred circle with the four gates facing the four directions. The “bones” have been placed in the circle and honoured.The video projection is on a one hour loop continuously playing the 8-minute video titled Buffalo Bone China. This short video studies the movement and form of the buffalo and further, their extermination. Eventually, the fine bone china is regenerated by the touch of Indian hair and healing hands. An Indian man welcomes the buffalo back from the bones.
Snow on Steps
Almost-to-full scale model of the front porch and steps of the artist’s home in London, Ontario. Simulated snow on the steps and porch on which are imprints of footsteps approaching and leaving the door.
House of Tea
A life-size, female figure, without a head or feet, floats above an open coffin.
Work consisting of three large oils on panel (a: Residential School, b: dark blue panel, c: red panel), a colour photograph on masonite (d: priest) and a black and white photograph on masonite (d: children). The two photographs (the colour hung above the black and white) are hung to the left of the oil depicting the residential school. The dark blue panel is hung between the image of the residential school and the red panel. The colour photograph depicts a priest standing in front of a grotto in which is a statue of the Virgin Mary. In the black and white photo are young female and male students standing on the stairs of the residential school in their first communion outfits. The residential school is depicted on one of the large oils, while the other two panels are executed in dark blue and red respectively. The red panel has a horizontal splash of green at the centre.
Floor sculpture consisting of 14, freestanding pieces of high-fired clay in various shapes and sizes with differing types of stains.
Octopus and Hunter
A hunter, executed in brown, holding a spear and in the process of killing a red octupus with a large green eye.
I really should ...
The artist has covered the front of the refrigerator with a series of statements, handwritten in Magic Marker, all beginning with “I really should”. The work was created at The Winnipeg Art Gallery by the artist for her exhibition Important Instructions For Changing the World, (April 5 - September 16, 2001)
Two young girls covered by fur coats who appear to be nude underneath. In front of the girls are two rabbits: one live, one stuffed. The stuffed rabbit is holding a bottle of champagne. Above the girls hangs a fox. Just below the fox is a draped curtain.
Piles of scrap metal inside the Gerdau MRM Steel, Selkirk, Manitoba. Prominent among the scrap are large, steel, boxcar wheels.
Out to Dry
The work consists of a series of images - a divining rod, a coiled rope emitting seagull cries, a young man floating in a life jacket, and a fountain - under the textual heading, "John's father was fountain of information". These images rotate around a central image: an adult male and child going out in the rain (with mother's approval, says the audio tape).
36 sealed Pyrex tubes each filled with unique species of seed such as carrots, beets, corn, wheat
German Shorthaired Pointer dog with an air purifier - fan and vents - built into its chest
The Procession of the Aurora Borealis
An installation work in three units comprised of three carts of molded snow bearing gifts: a tree stripped bare, more snow and a sled with dream catchers made of chemical bottles, copper cylinders and a network of tubes and wires. Piles of green and pink crushed glass fill the bottom of each chemical bottle. The entire work is placed on wheels.
Look at Me
A bare room except for what may be the frame of a wooden bed
Girl with Red Shirt
Head and shoulders portrait of a young girl with blonde hair and wearing a red shirt
Semi-abstract composition with references to landforms and sky inspired by the "Sleeping Giant" rock formation of Thunder Bay, Ontario
Half human figure, with long blond hair, stands knee-deep in frigid water, with underwear sagging, hunched over in resignation to the entrails exploding from its stomach.
Various male athletes climbing, exercising, working out on parallel bars
Brando as Napoleon
Portrait of Marlon Brando as Napoleon
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