Change Makers

By November 19, 2016Review

ART GALLERY OF MISSISSAUGA | MISSISSAUGA, ON
February 25 – April 10, 2016

What, or rather who, is a change maker? This is the central question that lingered for me after visiting Change Makers at the Art Gallery of Mississauga, which featured works by seven Indigenous artists working across North America and Europe. Given the gallery’s newly-implemented mandate to incorporate “diverse Indigenous perspectives within exhibitions and programming,” the answer seems implied but was not fully articulated.

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Installation view of exhibition Change Makers including works by (left to right) Outi Pieksi, Melissa General and Shuvinai Ashoona Courtesy Art Gallery of Mississauga Photo Toni Hafkenscheid

Curator Mandy Salter’s introductory essay claims that Change Makers draws on several very different yet compellingly complimentary heritages to re-evaluate the relationship between Aboriginal and Western cultures”—a tough order for any exhibition, let alone one occupying less than 1,000 square feet. I question the use of the word “Western,” rather than “colonizer” or “settler.” Mississauga is, after all, an Anishinaabe word, and despite having one of the most culturally diverse populations in the country, less than 0.5 percent of Mississauga’s population is Indigenous.

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Installation view of exhibition Change Makers featuring Outi Pieksi Courtesy Art Gallery of Mississauga Photo Toni Hafkenscheid

Upon entering the gallery, I encountered Saulteaux artist Wally Dion’s Icosahedron (2016), a circuit board quilt suspended from the ceiling. This work is as equally fascinating for the intricate patterns created by the retired computer parts as it is for the light-speckled shadow it casts, which resembles the night sky. Scaling down from this galactic vantage point are Amy Malbeuf’s Mealy Mountains (2013) and Three Artists Fly North (2013), topographic maps of Labrador punctuated with strands of glass beads and caribou hair tufts. The artist’s additions disrupt any reading of the maps as static places, reconfiguring them as sites of constant growth and change, unbounded by the political entities that attempt to hold them.

THE GRAVE (2013) by Kinngait-based Nicotye Samayualie is a densely- patterned composition of yellow and red flowers on a bed of pebbles within a precise wooden frame. The grave belongs to the artist’s late father. Samayualie’s drawing is both a tribute to a family member and a poetic meditation on death and renewal.

Equally arresting is Outi Pieski’s Crossing Paths (2014), a striking, immersive installation comprised of hundreds of coloured Sámi tassels tied to bare branches. The undulating lines of the work recall the mountainous Sápmi landscape, while the colours evoke an autumn sky. Pieski’s work is rarely exhibited outside of Europe; it was a special treat for visitors to the exhibition. Unsurprisingly, this was the most Instagrammed work in Change Makers.

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Nicotye Samayualie (b. 1983 Kinngait) THE GRAVE 2013 Coloured pencil and ink Courtesy Feheley Fine Arts Copyright Dorset Fine Arts

The exhibition was rounded out by works from Shuvinai Ashoona, Melissa General and Wendy Red Star. Absent from any exhibition material, however, was the notable fact that six of the seven artists are women. Perhaps it is Indigenous women who are the change makers, creating important, provocative work and inspiring reconciliation and resilience. ●

This is a review from the Summer 2016 issue of the Inuit Art Quarterly.