National

Indigenous

History

Month | 2023

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Art creates a sense of social identity and tells stories of our history, our travels and our ancestors.

It helps pass on knowledge to future generations.

This year's Indigenous History Month, we’re celebrating First Nations, Inuit and Métis artists who are helping to keep our stories alive.

Storm Angeconeb

The Creation Story

From Lac Seul First Nation, Storm Angeconeb shared this artwork titled The Creation Story which depicts the Ojibwe legend of how Turtle Island was created.

Joshua LeClair

“Mashkikiike Aadizookaan”

‘MAKING A SACRED MEDICINE STORY’

When Two-Spirit Anishinabek artist Joshua LeClair isn’t doing community work, they’re creating woodland art paintings or crafting birch barks. This painting commemorates the East-West Tie Project and depicts what can be accomplished between Anishinabek and Ontario.

Jordan Meekis

Bird Tamers

Looking to inspire, Ojibwe artist Jordan Meekis shared this piece titled Bird Tamers showcasing Indigenous motifs, like texture and tones. The 28-years-old from Sandy Lake First Nation, Ontario currently works in animation and hopes to see more Indigenous youth enter the field.

Shonta Kishiqweb

David Mitchell Martin

aka Bimbo

Two-Spirit artist Shonta Kishiqweb shared this piece honouring their late Haíɫzaqv/Wuikinuxv grandfather David Mitchell Martin. Shonta says David, aka Bimbo was a refined artist in Coastal Formline, Painting and Carving.

Justine Proulx

Seven Sacred Teachings

Born and raised in Winnipeg, Justine Proulx is a Métis tattooist & mural artist with Cree and Ojibwe roots. She wanted to share one of her murals not only because it’s art, but because it’s a way to introduce Indigenous teachings in schools.

Kory Parkin

Indigenize Blue Bird

Artist Kory Parkin from Tyendinaga Mohawk Territory looks to blend ideas to recreate something bold that showcases his culture. Kory says his mother has been a life long Toronto Blue Jays fan, so he chose to make something that combines his heritage and their love for the team.

Jenna Mallett

Dedicated to Buffalo Woman

A painting honouring ‘Buffalo Women’ and all MMIWG2S+. Artist Jenna Mallet from Fisher River Cree Nation shared this artwork which depicts a woman in a red dress with a blood dripping hand looking up at her spirit represented by a buffalo skull with a red hand print.

Ursa Burdenkeeper

Totem 2019

When not volunteering in the community, Métis artist Ursa Burdenkeeper can be found in Upbeat Artworks, located in Winnipeg’s Portage Place. Ursa shared this piece which represents faces of herself: “Who I am Inside, Who I am on the Outside, and the Outside Perspective.”

Percy Sacobie

HIGHWAYS 2016

Artist Percy Sacobie uses his Wolastoqey culture, traditions, story, and language as an influence for art pieces. This piece depicts how waterways were once used as highways, connecting all things Wolastokuk.

Steffany Fiddler

Mukluks with beadwork

Beader Steffany Fiddler enjoys sewing mocs and mukluks, making medallions and much more. She wanted to share her beading work to showcase sewing night in her community of Sandy Lake First Nation, Ontario.

Rolande Souliere

Mediating the Treaties

Rolande Souliere shared her work on display in Winnipeg which addresses the signing of Treaty 1. As a member of Michipicoten First Nation, Rolande’s art explores interconnectedness and complexities involved in systems and how they’ve impacted Indigenous peoples.

Cassandra Wolfe

Forget Me Not

Métis artist Cassandra Wolfe enjoys creating collages and painting and says art is an integral part of her mental health and well-being. Cassandra says she chose forget-me-nots to honour her nokum who was a residential school survivor.

Nicole Antoine

Ahana Wiconi Waskapi

Long ago, Life was Strong

Nicole shared this piece which depicts four notable and courageous leaders in Lakota/Dakota history. Nicole is currently studying at Brandon University, hoping one day to obtain an art therapy diploma so that she can work with youth and elders in her community of Sioux Valley Dakota Nation.

Damon Little

Our Mother Disappointed at a Wilting Flower

From Ahtahkakoop Cree Nation in Saskatchewan, Damon Little is working hard to set up an art collective to help make the province a beacon for artists. Damon shared this piece he created for National Day of MMIWG.

Heaven Makokis

The Story Teller

Artist Heaven Makokis from Saddle Lake Cree Nation in Alberta says dancing is a way of telling and accessing stories. The tenth grader shared her work which depicts a dancer in orange to honour the children who were forced into residential schools and never came home.

Chloe Mustooch

Connected to the Stars

Artist Chloe Mustooch is a proud member of the Alexis Nakota Sioux Nation and deals in many different mediums, including beadwork, painting and sculpting. Chloe shared this piece with a title she says is especially important, Connected to the Starts.

Naomi Matchatis

Brothers Under the Sun

Naomi Matchatis is a self-taught Dene artist from Cold Lake First Nations. She shared this painting titled Brothers Under the Sun which honours animals and the many ways they’ve helped Indigenous Peoples.

Hannah LaForme

Two Spirit Creation

Hannah LaForme is a member of Mississaugas of the Credit First Nation and started painting as a way to heal generational trauma. The Two Spirit artist created this piece to honour all the Indigenous Two Spirit people, trans people and queer people.

Shayde Sandy

Rez Life

Haudenosaunee artist Shayde Sandy specialized in oil painting and printmaking. This painting showcases the main intersection of downtown Ohsweken and the integral part in plays in the lives of those who live on Six Nations in Ontario.

Monica Rickert-Bolter

Kitihawa Dreaming

Chicago-based artist Monica Rickert-Bolter celebrates her Potawatomi and Black heritages in her work. Monica’s piece depicts Kitihawa, a Potawatomi woman who married Jean Baptiste Pointe DuSable, a French-Haitian fur trader, in the 1700s.

Niamh Dooley

Pride

Anishininew artist Niamh Dooley shared this oil self-portrait painting showcasing how her converge identities as an Indigenous and queer person. With her artwork, Niamh wanted to celebrate both #IndigenousHistoryMonth and #PrideMonth.

Bethany Mckay

Intergenerational Healing

Dakota artist Bethany Mckay created this piece to illustrate intergenerational healing. Bethany says it represents herself and her great grandmother, victims of the schools, and their descendants.

Lana Whiskeyjack

ohpahowipîsim

Flying-Up Moon

Lana Whiskeyjack is an associate professor at the University of Alberta, grounding her work in nêhiyaw ways. From Saddle Lake Cree Nation, Lana shared this piece showcasing womanhood within the Treaty 6.

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 Jordan Meekis, I’m 28 years old, I’m from Sandy Lake, First nations. I am an Ojibwe artist. I am based in Ottawa, Canada. I work here in the animation field as a design on an animated kid show.
Bird Tamers

The piece I’ve submitted is very inspired by Indigenous design motifs like the texture on the clothing, or the earthy brown colored tones. But most importantly I wanted to draw something cool to show my background for everyone to see.
Boozhoo, Yáu! My name is Shonta Kishiqweb. I am 21 years old and identify as two spirit. On my maternal side of my family we are Anishinaabe. On my paternal side of my family we are Haíɫzaqv, Wuikinuxv and Saulteaux. I currently reside in xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ nation’s territory.
David Mitchell Martin – aka Bimbo

This is a memorial piece for my late Haíɫzaqv/Wuikinuxv grandfather David Mitchell Martin. David was born on March 1, 1952 in Bella Bella BC to Donald Martin & Minnie Martin (nee Johnson). His nickname “Bimbo” was given to him by our Haíɫzaqv family. I included this piece for Indigenous History Month, because it acknowledges my Haíɫzaqv grandfather. I know for myself and many other Indigenous people, we look to our elders and grandparents for teachings. David Mitchell Martin was a refined artist in Coastal Formline, Painting and Carving.

He was proud of the Masks, Totem Poles, and Museum pieces that had to be shipped back East, Overseas, or to the States. On my 19th birthday, he sat down with me to talk about my art. He told me that he wanted me to work with coastal formline more, and to use his works. He wanted to see what I could do. He gifted me 3 pieces that day which I keep safe and digitalized. I used one of the designs in this memorial piece, and I had this printed out as part of his memorial pamphlet.

It was my first time going home to Haíɫzaqv Territory for his funeral, I’ll always be thankful for my aunty Joann Green and uncle Richard Green for hosting my family. This was a transformative and emotional time for my family. In an unfortunate incident while we were in Bella Bella, his belongings had been stolen from the supportive housing he lived at in the DTES. This was heartbreaking for me. Belongings that were to be passed down to my siblings and I are gone forever.

Memories, Art, Music, pieces of his life that were collected overtime. The few pieces of art that he gifted me are all I have to remember him by, other than memories. Our pursuit for creation will always be one of our many connections. Art is an important aspect of any culture. Keeping the arts alive is keeping the history alive.
Justine Proulx is a Métis Tattooist & Mural Artist, with Cree and Ojibwe roots. She was born and raised in Winnipeg, Manitoba, Treaty 1 Territory, and lives there today. From a young age, she felt called to create and serve in industries that fuelled her creative passion and love for working closely with people. She is always looking for ways to honour her heritage, specifically with her woodland art, tattoos, and murals.

This style of art explores the connections and relationship between spirit, animals, nature, and people. Her great-great-great Grandfather, Paul Proulx, served on Louis Riel’s Council during the Red River Resistance in 1869-1870. She is proud to have the roots of her family run deep within this province.

Many of her ancestors faced colonialism and racism, and had to hide and be quiet about who they were, and that resulted in their culture being lost throughout the generations.

Painting these murals allows her to feel deeply connected with her history and culture. Through these murals she hopes to honour her ancestors and all Indigenous people.
The Seven Sacred Teachings

I chose to feature this mural for Indigenous History month because it is not only a work of art, but it also serves as a tool for Indigenous teachings in this school.

The Seven Sacred Teachings are the focus for this piece. The goal of this mural was to have an immersive piece of artwork that would honour Indigenous culture and teachings. The mural wraps around the entire hallway, and the Teachings are mirrored on the opposite wall, along with the Teachings in three different languages, Ojibwe, French, and English. All pictures of the mural can be seen on my website.

The Medicine Wheel is central in many of my murals. It is so symbolic and foundational to our culture. The representation of balance is very important to me, and something that I love to incorporate in all of my pieces. Balance between night and day, water and land, man and nature, and man and Creator are concepts that I include in all my murals. These are also themes that are often the center of Woodland art.

My main goal with these murals is to represent Indigenous people and our culture, but to also aid the community in teaching and learning, especially to our younger generations. I did not grow up with any Indigenous art or teachings in my schools, so I am so honoured to be able to bring healing to the community by painting these murals. Healing comes through artwork, and art is a universal language that can bring all cultures together.
Kory is an Indigenous (Kanyen’keha) artist/graphic designer from Tyendinaga Mohawk Territory. Inspired by many great Indigenous and non-Indigenous artists, he looks for ways to blend ideas through art, sports and pop culture, to recreate something bold and unique that showcases his Indigenous culture as well.

A self-taught artist first started out strictly with acrylic painting but has since transitioned to more digitally created art to allow for greater opportunities.

Kory has had his art showcased on TSN, Sportsnet, Walmart Canada, CBC, APTN, Complex and has designed pieces for teams (and organizations) in the NHL, NBA, NLL, AHL, OHL, AFL Ontario and the CFL.
Indigenize Blue Bird

When first contacted by APTN regarding my art, I was asked to select a piece to share that best showcases my art.

Growing up there was 3 very important things to me that helped shaped who I have become today, and those were family, sports and my Indigenous culture.

Proud of who I am and where I’ve come from I’ve always looked for ways that I could showcase the things I’m most passionate about. For those who have followed my artistic journey they have seen what opportunities I’ve been presented with but also how my love for the Toronto Blue Jays really helped open so many doors for me.

None of this today would be possible with out the loving support of my parents. So since I get my Indigenous roots from my Mother who has been a life long Blue Jays fan I choose to create something new that showcases our culture but also our love for the Blue Jays. Nyawen’ko:wa to everyone who has been there for me, especially my parents, my beautiful wife, my supprortive family and my community.
Jenna Mallett from Fisher River Cree Nation, Manitoba is a multitalented artist currently working at Odins Eye Tattoo and Piercing in Winnipeg.

She enjoys doing all types of art including: painting, pottery and tattooing and is gaining notoriety for her indigenous style floral tattoos inspired from beadwork.
Dedicated to Buffalo Woman

The painting Jenna is sharing for Indigenous History month is a sad part of Indigenous history representing MMIWG2S+.

This painting was made late 2022/early 2023 when an unidentified victim in Winnipeg was named “Buffalo Woman” by elders in the community.

The painting is called “Dedicated to Buffalo Woman.” It depicts a woman in a red dress with a blood dripping hand looking up at her spirit represented by a buffalo skull with a red hand print on the front of it.

This painting is aimed to be powerful in a way to bring mourning in honour of all the MMIWG2S+, especially Buffalo Woman .
Ursa Burdenkeeper (She/They), 34, born 1988 in Thompson Manitoba. Identifies as a Metis Two-Spirit Lesbian.

Volunteers her time Teaching Elderly to Paint in several Senior Communities in Winnipeg, When not Working in the Community, She Can be found at Upbeat Artworks, Portage Place 2nd Floor Thursdays in June.

Artist is Open for Commissions through Facebook, Instagram and DeviantART Social Media Platforms.
Totem 2019

-Background: Full Color Acrylic Paint Pour.
-Foreground: 3-Tier Totem Pole starting at the Bottom; a Rat, A Bear, and a Crow.

The Totem Tiers in these Works represent three faces of Myself. Who I am Inside, Who I am on the Outside, and the Outside Perspective.

The Rat Represents My Inner Child, My Past, My Internal self.

The Bear Represents who I want to be, Who I Currently am in my Adulthood, and the Crow Flying over me are my Elders, My Ancestors, Starting from the bottom up, literally me as a Street Rat, Feeling small and unseen, but somehow still having a bad self-image of what I perceived others to perceive me. Struggling to Survive. The Bear is me in my Early to Mid-Adulthood, Bigger, Stronger, Wiser. I have Food and Resources now, I have Found Happiness/Pride (Sun on the Chest, Face Expression), the Arrow on the Forehead represents Experience or Enlightenment, Gaining Knowledge/Learning.

The Crow in Red Meaning Blood, as In Ancestral and Familial ties. Because my Moms Maiden name. Wings open as if Hovering or Gliding over the Bear and the Rat (eye on the crows chest.)
Percy Sacobie uses his Wolastoqey culture, traditions, story, and language as an influence for art pieces. He is apt in many different mediums, wood, beads, and paint to name a few. His wife of more than 20 years is main support and his 4 kids and 10 grandchildren are his number one fans.
HIGHWAYS 2016

Depicts how the waterways were once used as roads and highways, of how the water connected us to all things in Wolastokuk.

The deeper meaning is that the river is our cultural connection to the past, and our lack of use and respect for the river leaves us with a lack of understanding of who we once were, who we are in the present, and who we will be in the future.

Salmon are an essential part of Wolastoqey culture, and their demise in the Wolastoq has severed a portion of Wolastoqiyik being.
Hello, my name is Steffany Fiddler and I am from Sandy Lake First Nation. I enjoy beadwork, sewing mocs and mukluks, making madallions and much more.

I work for an indigenous owned company that serves my nation. Nishnawbe-aski-Legal service corporation and my favourite part is that i am able to share this part of my life… with our people.
Mukluks with beadwork

The reason I want to share this part of my contribution to Indigenous History Month is… our sewing nights. In our Community of Sandy Lake. A few of us ladies met and with the love of Sewing and beadwork. We decided to start a Community sewing night, one night a week and make it a reliable event every week – same time, same place and a yummy snack and see who shows up.

We have youth coming in to start projects as young as 10 years old and we have young adults and their mothers and elders coming in. It was an event we all share together; we look forward to it each week. Sewing nights were held for weeks and amount of people that were attending as the weeks grew – it is amazing. The idea was to help members of the Community learn a new hobby but also use this is as a form of healing.

It is our culture to have a good mindset when starting a project – good thoughts and good vibes. The sewing nights are a safe place to learn and be in the moment. The sewing nights gave me a good chance to sit down and remember that life is busy but being able to set time aside with these ladies is good for you. 3 hours is not enough time for our sewing night.
Working across installation, socially engaged art, and temporary and permanent public art, Souliere’s art practice explores the interconnectedness, and complexities involved in systems. Whether social, political and or cultural, Souliere is interested in how these systems have impacted Indigenous people in personal and collective histories.

Influenced by her North American First Nation heritage, Souliere’s choice of materials are diverse, and include mass produced materials and repurposed objects. These ready-mades are often manipulated with handmade repetitive processes such as stitching, stacking, and binding.

Texture and colour are also prevalent, and when combined with craft processes and everyday objects, they speak of the vast array of subjects residing within systems.

Souliere was born and raised on Turtle Island (North America) and lives and works on Gadigal Land, (Sydney) Australia. She is a member of Michipicoten First Nation and has a PhD and MVA from Sydney College of the Arts, University of Sydney.

Recent exhibitions include Scents of Movement, Scents of Place, Art Gallery of Alberta, Canada, 52 Artists 52 Actions, Penrith Regional Gallery, Australia, and States of Collapse, Dunlop Art Gallery, Canada.
Mediating the Treaties

This artwork was selected for Indigenous History month as it addresses in a visual language, Treaty No. 1, signed on August 3, 1871 between Queen Victoria (1819-1901) and the First Nations of Brokenhead Ojibway Nation, Fort Alexander (Sagkeeng First Nation), Long Plain First Nation, Peguis First Nation, Rosseau River Anishinabe First Nation, Sandy Bay First Nation and Swan Lake First Nation.

Seven Chiefs signed Treaty No. 1, however in the Canadian archives, only two photographic portraits of the Seven Chiefs were archived. I wanted to give these important historical Chiefs, Chief Miskookenew (or Red Eagle aka Henry Prince ) (1819-1899) and Chief Kakekapenais (or Forever Bird or William Pennefather) (1816-1897) recognition and a continued presence of First Nations people on Turtle Island-the Indigenous name for North America.

The doubled sided coin is a metaphor for the differing and competing understandings of Treaty One provisions between Queen Victoria’s (1819-1901) representatives and seven Chiefs of Manitoba including Nashakepenais (or Flying Down Bird), Nanawananaw (or Center of Bird’s Tail), Kewetayash (or Flying Round,) Wakowush (or Whip-poor-will) and Oozawekwun (Yellow Quill).

Some of the issues included the ‘right of way’ for allowing the Canadian Military to pass safety through their land hence the use of caution tape within this work and the outstanding Lake of Woods debt. Chief Nasashakepenais requested his braves and councillors to be ‘dressed’ and is represented in the clothing aka ‘treaty suits’ of the Chiefs.

Nevertheless, conflicting understandings of each other’s Treaty’s resolutions remains to this day and First Nations continue to only receive $3.00 a yearly for the signing of the Numbered Treaties.

Note: Due to global political issues surrounding colonial figures in public artworks, this artwork has recently been revised to exclude Queen Victoria.
I am a multidisciplinary Métis artist from Winnipeg who enjoys collage and painting. Art is integral to my mental health and well-being.
Forget Me Not

Drawing Métis floral patterns are calming and make me feel connected to my ancestors. I chose forget-me-nots to honour my nokum who was a residential school survivor.
My name is Nicole Antoine, I’m from Sioux Valley Dakota Nation in Manitoba and I’m an art student from Brandon University.

I hope to one day achieve my Bachelor’s of Arts degree and obtain an Art Therapy diploma so I can work with the youth and elders in my community.
Ahana Wiconi Waskapi – Long ago, Life was Strong

I’m very proud of my Dakota roots and I believe art is a very important aspect in Dakota life and culture. If I could choose a painting to share with the world, I’d choose a piece that I had titled “Ahana Wiconi Waskapi” meaning “Long ago, Life was Strong”; it depicts four notable and courageous leaders in Lakota/Dakota history, Chief Red Cloud, Sitting Bull, Chief Joseph and Black Elk.

It is currently displayed at the Oyate’ Omnic’iya Tipi (The People’s Meeting Lodge) in Sioux Valley. I hope to one day inspire people of all ages to reach beyond their expectations.
My name is Damon Little and I come from Ahtahkakoop Cree Nation on treaty 6 territory. I work in IT in my community, but i also teach graphic design. In my free time I am an oil painter with my work displayed internationally.

I spent 2 years in France on a working holiday visa, and this is where I honed my craft and had various exhibits and expos with my work. I Also work for a non-profit as a Social Inclusion officer, where I help organize and fund events in my community with the goals of bringing community members together and to offer things for the youth to do.

We also work with anti-racism work and are actively developing workshops for that. I love my reserve, and I am in the process of starting up an Art Collective here in my community with the hopes we can make Saskatchewan a beacon for artists.
Our Mother Disappointed at a Wilting Flower

This piece I made for MMIW day. Our Mother is disappointed in her wilting flower. The way we treat our world is the way we treat our women.

Our women live in fear, and our men victimize and murder them. It’s the same as the murder of our planet.

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).

Niamh Dooley is an Anishininew (Oji-Cree) and Irish contemporary artist based in Winnipeg. She is a band member of St. Theresa Point First Nation (Mitheynigaaming) in Treaty 5 territory of Manitoba (part of the Island Lake communities) but grew up in Treaty 3 territory in Sioux Lookout, Ontario.

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.

Bethany Mckay is a 20-year-old Dakota Artist from Wipazoka Wakpa also known as Sioux Valley Dakota Nation. Her art is inspired by her culture and beliefs as a Dakota woman.

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