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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 which 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 this panel are the words 'Shaman Never Die' - written three 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 First Nations Man 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.