God Save the Underworld, curated by artist Chris Bose, featured work from members of Kamloops’ Arbour Collective. The show questioned the relevance of the British Monarchy in modern Canada through a gallery exhibition of graffiti works. Just as graffiti subverts the norms of traditional visual arts, Bose, partnered with three other artists to take an unconventional, collaborative and cross-cultural approach on themes normally assumed to be the sole domain of the Indigenous resistance. By highlighting the shared Canadian question of colonial legacy, Bose sought to initiate discussions about possibilities for an independent Canada.
“The underworld is a community that society rarely acknowledges,” Bose stated. “This exhibit brings outsider art from the fringes of our social systems; it is created for people who will never step foot in a gallery or museum.”
Chris Bose is a writer, multi-disciplinary artist, musician, curator and filmmaker. He is a founding member of the Arbour Collective. He is also a workshop facilitator of community arts events, digital storytelling, and art workshops with people of all ages and backgrounds. Bose performs curatorial work for First Nations art shows and projects, and research and writing for periodicals across Canada. He is also involved with project management and coordination, mixed-media productions, film, audio and video recording and editing, and is a music festival producer. Chris Bose is of the N'laka'pamux/Secwepemc Nation in BC, and currently spends his time in Kamloops, BC. Bose exhibited his work Jesus Coyote at the Alternator in 2010.
The Arbour Collective supports the creation and dissemination of the work of Aboriginal artists from all Indigenous nations in the Kamloops area in all artistic disciplines. As well, Arbour Collective supports work that confronts and challenges stereotypes, hidden histories and stolen voices, and which inspires and empowers us through creativity, by providing opportunities for our voices to be heard collectively, for our art to be seen professionally and for our work to engage the community at large in creative dialogue.
Speaking Shadows // Interpretive Essay by Dr. Michelle Jack
Beauty, Strength, and Expressive Emotional Commentary can be found flowing in and out of the edges of communities. We find ourselves here in this flow with the art by Chris Bose and the Arbour Collective. Like a quiet and powerful wave we are covered with a momentary experience of mixed reactions and emotions. Sirens, social walls, and violence in many forms often block the brash and expressive street art and graffiti writing we see in God Save the Underworld.
The artists here are giving a voice to important interior social justice issues that are largely ignored by many British Columbia media and authoritative bodies. Why is there no wide spread investigation into missing Aboriginal women? Are we so callus to the gaping wounds in the earth that are mined with massive amounts of once clean water? Toxic waste pollutes the precious waters and fish that provide food for many animals and people alike. These works can force us to consider these issues, and their place within British-Canadian colonialism.
Western society and consumption often cause us to gloss over these issues. Commercials for slick, “clean” living push the idea that it is more important how things look, rather than what is within. After all the consumption what is left? Hungry mouths, money, oil.
Socially critical dialogue has become rare. Who really gives a voice to those in need? There is great need for communal art space, one where every voice is welcomed to participate.
The Kamloops based Arbour Collective is an Aboriginal, Métis, and Inuit urban artist group that provides a place for collaborative and personal expression.
Chris Bose and his collaborative murals are a blunt commentary about the social injustice of the local Kamloops area. His bold and colourful graffiti shows the true nature of his KYOTI persona.
KAST and his classic graffiti lettering is homage to the first graffiti writers and the vinyl music that inspired them.
Marvin Strange give us a prickly sharp comment on the effects of destruction and darkness of many kinds. Their steampunk creations present designs inspired by 19th century steam-powered machinery.
God Save the Underworld entices the onlooker to come and investigate what hides in the shadows. Even if only for a few moments, these works have your attention fixed and engaged to listen to voices most would not bother paying attention to. So be coxed and enter this piercing environment. See the layering of public space from rock petroglyphs to the graffiti of today, and hear the many voices that will sound long after these graffiti night expressions are washed away.