From Iglulik to the Venice Biennale, Isuma has had an immense and far-reaching impact on Indigenous filmmaking, language and cultural storytelling. Reflecting on a trip North in the early 1990s, a curator and writer delves into the collective’s legacy, their presentation of time and what Isuma’s work means for us all.
In the study of art, a seam in time can sometimes unexpectedly open, spilling a packet of the past. All the spark and vitality of a moment long passed has somehow been saved and can now be relived afresh. Such was the experience of eighty-two-year-old, New York-based writer and educator Richard Lewis, who was quietly performing that most monotonous of domestic chores—cleaning his basement—when he came across a manila envelope containing a blast from his past. Inside were 27 pristine drawings on coloured card stock, the work of the Qamani’tuaq (Baker Lake), NU, artist Jessie Oonark, OC, RCA (1906–1985), drawings made with coloured pens when the artist was in her prime, in the late 1960s. Read More