Curatorial Statement
Futuristic Regalia is a curatorial proposal presented by Daina Warren (Vancouver) for the three emerging contemporary First Nations artists – Peter Morin (Tahltan) and Sonny Assu (Laich-kwil-tach), and Daina Warren (Montan a Slavey Cree). The three artists work with the wearable costume as a means to represent an indigenous body, while dealing with the stereotypes and realities of aboriginal communities. They reconnect with history through the language of ceremonial clothing, the use of traditional family crests and the incorporation of organic materials. Concepts of past and present experiences and how to create a positive synthesis for the future is at the core of this curatorial statement.
Traditional blankets have significant political ramifications such as proclaiming hereditary rights, obligations and powers. Historically blankets were passed down from family member to family member and stories accompanied each of the robes. Many feel that the blanket provides comfort and a connection to their ancestors. While wearing a button blanket the individual has a sense of security and strength and can exude physical and spiritual confidence during a prayer or a talk. Blankets are also passed down or fabricated because of an important event in a person’s life, usually with coming of age, a potlatch or because of a vision from the ancestors.
Like the button blanket, many modifications are occurring in the Native culture. Many First Nation’s youth are moving off reserve to urban or rural areas of Canada, and with that move comes a dislocation from traditional communities. Small communities cannot offer the same opportunities and support for the youth: it is dif cult to keep up with the constant developments of widespread industrial and corporate culture. Many youth are independently moving away from family and community, gaining new experiences, learning job skills in towns and cities, or attending colleges and universities. However, moving away means not always being able to connect to traditional culture, or the practice of traditional songs, prayer or language. Peter Morin’s business attire reflects the need for a spiritual or cultural connection while surviving in an urban environment.
Peter Morin connects city living to Tahltan country life, (which is located near Telegraph Creek, in the upper interior region of northern British Columbia) hundreds of miles from where he now resides. Collecting soil from favored places on his reserve, Peter kneaded the dirt into a chosen business suit.
In this creative act he is collecting parts of his land, gathering memories of Tahltan life, and bringing those ephemeral aspects together with his everyday existence in a world of cement, buildings, glass, and work. In addition to rubbing the rich soil into the fibers of the garment, he drew an actual visual image of his traditional landscape with the dirt, illustrating it upon the suit. With this rendered landscape, he can carry the land with him, grounding himself in his traditional roots and acknowledging the earth that he and his immediate family are formed from. This piece promotes a connection between Peter and his relations, ancestors, spirituality, and cultural identity.
"Cultural identity is about finding a comfortable space. When I think about the objects of culture, the things that have carried this type of identity, I realize that clothing plays a very important role in this identity." - Peter Morin
Peter completes the work by providing two dimensional works that have self-portraits of him standing alone. Inside his unclothed skin there is a faint image of the crow, so even with the lack of visible clothes or traditional apparel, Peter carries the spirit of his people inside himself.
"I am trying to make a presence for myself. I am a Crow; I come from the Crow clan but I also feel like a ghost. I want to reference the role that I play within my culture and make a physical space for my body within my culture so that I can feel safe." - Peter Morin
Sonny Assu’s disguise is a blend of some of the many facets of his urban experience with design forms unique to his Laich-kwil-tach Nation culture. It’s an interesting idea because Sonny turns the tables and appropriates from a mass-produced, melting pot culture. Sonny chooses the entity of Spider Man/ Peter Parker to connect with because of Spiderman’s organic "powers."
The mixture of spider and human attributes contrasts well with many of the figures in West Coast folklore; many spirits are a combination of abilities that can shift from animal to human forms, have incredible spiritual powers and watch over the community, teaching the individuals social and survival skills. Many of these animal/human forms are illustrated on traditional blankets. Sonny connects with this figure because Parker is an individual who inhabits a large, metropolitan city by watching over it and providing safety for other city inhabitants. The fusion of West Coast Native and pop culture is a mirror of Sonny’s own cultural background.
The blanket is also colored with the identifiable coloration in Spiderman’s disguise. The blue and red echoes those first traditional blankets that evolved from the introduction of western materials after contact. He also uses other traditional aspects like the buttons and wool cloth. This blanket is a good example of the clothing being adapted to the surroundings in which it’s worn. Especially now, with many First Nation’s youth supporting icons of pop culture and emulating "contemporary" role models and at the same time looking to traditional figures for guidance, the blanket retains some of the original qualities of the traditional blanket, yet provides an entertaining aspect for youth to relate to.
Coming from another perspective and born from another place of Canada (Hobbema, Alberta), I made connections with my work to that of Peter and Sonny's pieces. By basing their idea of how to meld both contemporary and the traditional, I looked at where my ancestors are from and what types of practices the prairie nations uphold. Much of this project stemmed from looking at pow-wow clothing has evolved, if attending such a sacred event, you will see that many of the costumes have obtained new materials that have been added to the traditional clothing.
I think the headdress is something of much fascination for me, because of the complex form its has (with so many feathers) and the movement it gives during dancing. I felt that a natural place was to keep it on the head but try and create the tradition form through hairstyles or as I see them as hair sculptures. These styles are based somewhere between the headdress and the spiritual creature "wild woman of the woods". I wanted to have fun with this piece but still create something that is a memory of tradition. I also chose black and red for some the pieces in respect to the land that I currently live on, which is so far from my own traditional territory. However I also wanted to pay respect to my ancestors and elders by choosing white and grey hair pieces to create a stylish headdress and create forms that would be an homage to them.
The main idea behind the project was to show the continuation of developments of traditional ideas, showing how such concepts as regalia, specifically the button blanket, and how it can reflect the social changes and evolution of traditional indigenous cultures. Sonny, Peter, and myself are examples of Native culture sustaining itself and utilizing traditional aspects to provide a spiritual or emotional strength. The traditional clothing still stands for security, for taking that security out into the public and using it to exude confidence and poise no matter what the situation, while remaining grounded to our ancient beliefs.
Sonny Assu (Ligwilda’xw of the Kwakwaka'wakw Nations) has been recognized for his mashups of Indigenous iconography and popular culture. Through a variety of mediums including sculpture, painting, prints, large-scale installations and interventions Assu’s work maintains a profound connection to past traditions while speaking to pertinent issues of our time. Assu’s work is included in numerous major public collections, including the National Gallery of Canada (Ottawa), Art Gallery of Ontario (Toronto), Museum of Anthropology (Vancouver), and the Vancouver Art Gallery. In 2021, Assu received the Eiteljorg Contemporary Art Fellowship, awarded every two years by the Eiteljorg Museum in Indianapolis, Indiana - the home of one of the finest collections of Indigenous art in the world.
To learn more about Sonny and his current work, visit his website.
Peter Morin is a Tahltan Nation artist, curator and writer currently based in Victoria, BC. Morin studied art at Emily Carr Institute and recently completed his MFA at UBC Okanagan in 2011. In both his artistic practice as well as his curatorial work, Morin explores issues of de-colonization and indigenous identity and language. In 2010 the artist was awarded the British Columbia Creative Achievement Award for First Nations’ Art. Morin is currently serving as the curator in residence at Open Space Artist Run Centre in Victoria BC.
Daina Warren graduated with a Bachelor of Fine Arts degree from Emily Carr Institute of Art and Design (ECUAD) in 2003 and gained an MA Critical and Curatorial Studies from the University of British Columbia in 2012. After receiving an Aboriginal Curatorial Collective Residency to work with grunt gallery in Vancouver, British Columbia in 2000, Daina remained at the gallery as associate curator and administrator until 2009. She curated numerous shows at grunt gallery, including a performance titled Taking Stick Cabaret, a collaboration with Lisa C. Ravensbergen. She currently works as the curator and director of Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba. Warren was elected as one of four Indigenous women curators as part of 2015 Asia-Pacific Visual Arts Delegation to participate in the First Nations Curators Exchange an International Visitors Program of the 8th Asia-Pacific Trienniale in Brisbane, Australia.