Storm Angeconeb is an Indigenous artist from Treaty Three Territory (Lac Seul, First Nation), born and raised in Winnipeg, Manitoba. Currently based in Red Lake, Ontario.
Many of her works include animals and birds as representations of herself or those close to her. Over the past few years her artwork is included throughout Winnipeg from murals to lightboxes. Storm continues to practice her art through painting, digital art and practicing beadwork.
The Creation Story
A depiction of the Ojibwe legend of how Turtle Island came to be. I wanted to honor our rich histories and honor our knowledge keepers – our elders.
“Boozhoo Aanii, Kiiwedini-kamiganung n’indizhnikaaz, mkwa n’doodem, Biigtigong Nishnaabeg n’doonjibaa. Niin nizh-manidoowag Anishnaabe nini.
I am Joshua LeClair from Biigtigong Nishnaabeg (formerly Ojibways of the Pic River First Nation). I am a 2spirit Anishinabek man. I am from north of Lake Superior, a sacred landscape. I’m involved with 2-spirit advocacy and plan ‘Rez Pride’ in my community. It’s about bring awareness, acceptance, and building of 2-spirit people on the reserve.
When I am not doing community work, I am an Anishinabek artisan. I do woodland art painting, craft birch barks, it is medicine and when create we connect. I believe we should indigenize everything!
Our ancestors left us an entire way of being. I have been painting since I was 10 and I like including pieces of this ancient worldview in my paintings. The way indigenous peoples see the world, is from the land, we are of the land, we call home. I hope to use my woodland art to share Anishinabek stories, traditional and new.”
“Mashkikiike Aadizookaan”
‘Making a sacred medicine story’
This commemorative painting to signify the completion of the East-West Tie Project tells a story of what can be accomplished between Anishinabek and Ontario.
At the core of this painting, is a story, a story about energy, in all of its forms, shapes, uses, concepts and interconnectedness of everything.
Lets begin this story.
First lets begin with the turtle. The turtle is the teaching of truth, one of the 7 grandfather teachings. Truth teaches us that we must honour all the teachings of our ancestors to live a good life, ‘Mino Bimaadziwin’. This includes the teachings of; Respect, Wisdom, Honesty, Bravery, Love, and Humility. The turtle is also used to represent Turtle Island. The land we call Ontario and other places are on this great turtle. The great turtle provided safety to the first woman on what we call earth. Both the turtle and woman represent ‘Mother Earth’, our planet, floating, carrying, protecting us as we travel the galaxy and universe.
The woman in blue, represents that first woman who came from sky people. She is connected with the turtle to represent this sacred story. Both the woman and turtle are looking at the sun, Giizis. All life comes from this great energy, this star. We know this. The connection of Giizis ‘Sun’ and Nmama Aki ‘Mother Earth’ are signified by this galactic view. We see the deep colours of the universe and distant stars and the milk way.
Across the view of the painting at the background of our symbols for earth, is a river, representing the Milky Way Galaxy. This magical river, carries the spirit of all being, to and from this physical realm. In this river, ‘Zibi’, are 4 canoes.
Each canoe paddled by one of the 4 sacred races of people. Each a keeper of on the sacred elements; earth, fire, water, and air. This to remind the viewer, we are all living this journey together, and to remind us, we all bring our own gifts, talents, stories, and experiences to the circle.
These rivers are many, some big, some small, but they connect us all. Anishinabek lived on this land for millennia travelling the rivers and lakes on our canoes.
We must honour this history and legacy. The lighting lines from the woman in blue represents these riverways. They all flow to the woman. For she is keeper of this sacred element. Anishinabek Kwe are keepers of Nibi; for it is a sign of that sacred gift; of that sacred ability; to bring life into this world.
We must all honour this for Anishinabek are our grandmothers, mothers, sisters, aunties are the keepers of Anishinabek spirit.
She is painted a copper/bronze to represent the glow of Anishinabek people for they are keepers of copper, a sacred metal. Her hand is connect to the outer ring of the turtle. There are 13 pieces to that outer ring, they represent each of the 13 grandmother moons, an Anishinabek understanding of a year.
Inside the turtle is a scene. It is a birds eye view of the northside of the great lakes region. The red thunderbird representing the Anishinabek Nation. The trillium flower to represent the province of Ontario. These symbols side by side to signify the relationship and partnership created to build this project.
My name is Heaven Makokis and I am a member of the Saddle Lake Cree Nation, situated in Treaty 6 Territory. It’s been a privilege to have a strong bond with my Mosum since birth.He would take my sister and I to pow wow’s, ceremonies and I would ask him questions on my culture, which he was always happy to answer.
He is teaching my sister and I Cree and has always been a strong leader in our community. He has been in Leadership for 27 years and 15 of those were spent as chief.
I am currently in Grade 10 and have always had a passion for art, and my interest grew once I entered Grade 7. Art has given me the ability to express myself and has been a positive support for my mental health.
The Story Teller
For the drawing itself, I wanted to do a dancer because dancing is a way of telling and accessing stories. I used orange for the children who were taken and forced to go to residential schools and also for the children who never made it home.
I also added the colours and symbols of the medicine wheel because of teachings that they hold, in my community.
I wanted to include a red hand print on her face for the missing and murdered indigenous women, girls, and two-spirit kin.
Chloe Bluebird Mustooch is an Indigenous artist of both Nakota Sioux & Cree heritage, she is a proud tribal member of the Alexis Nakota Sioux Nation.
As an interdisciplinary artist, her artistry encompasses various genres- from traditional beadwork, quillwork, tufting, to drawing, painting, illustration and sculpture in several media.
Bluebird firmly believes in the power of art as therapy.
“The First Peoples of this land are intrinsically artistic, it is in our DNA. Because of cultural genocide and assimilation practices, some of us have lost that spiritual connection that is so much a part of us… and to deny this is to deny ourselves. We are all creative, mirrors of Wakan, the Creator.”
Connected to the Stars
The title of the work is especially important.
Connected to the Stars is about how we got here, our creation story. We come from the stars.
My name is Naomi Matchatis from Cold Lake First Nations.
I am a Dene artist, self-taught. Currently living in Edmonton, Alberta.
Brothers Under the Sun
This painting is called Brothers Under the Sun, I wanted to include this piece for Indigenous history month because it’s a reminder of how horses and animals have helped our people in so many different ways.
Even to this day.
Hi everyone! My names Hannah Sage LaForme. I’m a Two Spirit Artist and member of Mississaugas of the Credit First Nation. A lot of my work is inspired by the land and animal relatives.
I started painting as a way to heal generational trauma. Painting has helped me see the beauty in everything around me. I love bringing spirit to life in what I create so those around me can see what I see.
Our ancestors guide us by putting things in are path, with hopes we pick them up to help us on our journeys through life. I just started painting and creating but it feels as if I’ve been doing it for many lifetimes. It brings so much peace, so much healing on dark days. It’s given me a voice and helps me tell my story in a beautiful way.
I chose this drawing because it’s a reflection of who I am, and those I love.
Two Spirit Creation
I made this to honour all the indigenous two spirit people, trans people and queer people. When I think about two spirit people, I think about creation and how we are the light in the dark. The beauty that we hold flows through turtle island.
We’ve been here just as long as creation, and we will always be here.
Born and raised in Six Nations, Shayde Sandy is a Haudenosaunee artist, who specializes in oil painting and printmaking.
Shayde aspires to create more contemporary artworks of indigenous representation, as she has often felt her identity was excluded from mainstream culture.
Shayde’s artwork can be seen on display at Milton’s FirstOntario Art’s Centre and Woodland Cultural Centre in Brantford.
Rez Live
This painting showcases the main intersection of downtown Ohsweken, which is an integral aspect of many peoples day to day lives here on Six Nations.
The reserve has always been my home and this work encapsulates how I perceive our land and culture, a bright community filled with humour.
Throughout my life, I have encountered many non-Indigenous people who have misconceptions or are simply unaware of our presence. Therefore, it is important to me that I share the modern-day perspective of life on the reserve to contemporize our existence within society.
Monica Rickert-Bolter is a Chicago-based visual artist, who celebrates her Potawatomi and Black heritages in her artwork. Passionate about storytelling through art, she advocates for cultural representation in any project she undertakes.
Monica is a co-founder and Director of Operations at the Center for Native Futures, a fine arts nonprofit focusing on Indigenous Futurists. She will use her decade’s non-profit experience to create a more inclusive and equitable arts community throughout the city.
Kitihawa Dreaming
This piece was a part of the Floating Museum’s Cultural Transit Assembly project, featured on the CTA Green Line. Kitihawa was a Potawatomi woman who married Jean Baptiste Pointe DuSable, a French-Haitian fur trader, in the 1700s.
Together, they worked to build relations with traders and the Native people, but unfortunately, much of their impact and documentation has been lost or purposefully forgotten due to colonization. I was inspired by their story and wanted to highlight Kitihawa’s vision of a vibrant and thriving Zhegagoynak (Chicago).
Pride
For Indigenous History month, I chose this oil self-portrait painting in rainbow makeup and a beaded feather earring detail made with various size beads. I wanted to showcase discovering myself as an Indigenous and as a queer person, and how those I feel these two identities converge in me as a person. I’m always wanting to learn more about my culture; I learned beading as a way to connect to with it and through the matriarchs in my family. The women in my family are a constant inspiration to me and my artistic practice.
Gender and sexuality is fluid, and while I had been out as queer for some time now, I only discovered the label I most identify with is lesbian. Self-discovery is important for any person at any age. I wanted to share this image celebrating my culture and queerness to showcase June as both Indigenous History month and pride month through my art.
Intergenerational Healing
This piece is about intergenerational healing. In residential schools they cut off our hair. Which us indigenous people consider sacred. My great grandmother once had long hair to her ankles, but they cut it and washed her head with coal oil. She never grew it back, I consider my hair also hers, I grow it in honour of her.
This piece represents us two, victims of the schools, and their descendants. Although trauma is ingrained in our history, and blood that we still need to heal from, we still have a beautiful future to fight for.
Dr. Lana Whiskeyjack is a multidisciplinary treaty scholartist from Saddle Lake Cree Nation. She is an associate professor in the Department of Women’s and Gender Studies in the Faculty of Arts, University of Alberta.
Her research, writing, and creativity is grounded in nêhiyaw ways of knowing and being that guides her creativity, scholarship, research, and community support heArt work.
ohpahowipîsim | Flying-Up Moon
I included this work that represents one of the 13 moons nehiyaw calendar system from this specific geographical land-base in Treaty 6 territory, since each Nation within Nations have their own names for the moons based on their environments, climate, biodiversity and lands. I included this oil painting because it honouring womanhood within the Treaty 6, which was signed in August 1876, the outline of treaty six is the black markings on the white pinto.
The men who signed treaty are also in black and white reflecting the binary colonial worldview whereas the rest of the colours within the painting shares how fluid, relational and non-binary our nehiyawewin (Cree language) is. The treaty medal had the buried hatchet while the knife in front of the iskwew represents truth and reconciliation.
The pail is the corset of patriarchal oppression. The iskwew is the strength and courage of our future, she wear combat boots as women have always been resisters, advocates, care-takers, educators, leaders through their many kinship roles. Her ribbon skirt symbolizes as long as the sun shines, the grass is green and the rivers flow