I had the pleasure of catching a great CBC interview with Sonny Assu and his recent work which intervenes Emily Carr works with Indigenous iconography. An idea which he was careful to emphasize was the 'colonial narrative' and the 'colonial landscape'. It resonated with me and the series I've been working on the last few years, I have always been thankful to have really thought this through before I started. Some say that I am overthinking it, and that art is art. But I strongly disagree. Contrary to one artist I know that takes complete freedom in her interpretations of the totems (and not Aboriginal herself), I have always stayed with recording close-ups (facets) of totems realistically, within a set time in their amazing lifespans, and not interpret them artistically. And, my art labels in my shows (or website) nod to the original totem(s), the masters who created them, and include background. Not allowing myself to interpret the totems or adapting the symbols and forms in other compositions, safeguards me against slipping into that 'colonial' vision or landscape. What is on my canvas is the totem, and the awe within me in its presence.
------------------------- We Come to Witness: Sonny Assu in Dialogue with Emily Carr December 3, 2016 to April 23, 2017 Artist’s Tour: Sonny Assu We Come to Witness: Sonny Assu in Dialogue with Emily Carr Saturday December 3, 1pm & 3pm In the Gallery, 4th floor http://aboriginal.ecuad.ca/
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I needed to take a few days from working on the icon commission to get a new portfolio prepared to continue the quest of introducing myself to local art galleries and art centers; getting each page formatted and adjusted if prints came out too dark. I'm happy with the final product. My only complaint about the 'Portfolio' binder is that it has no business card slot, and no pocket for a CD of its contents (which I can leave with a contact). I haven't painted a new totem painting for a while within the Journeying With The Totem series. There have been several reasons, which I've been mulling over and over again. 1- the struggle in getting the series known 2- people having difficulty in visualizing each piece online, without the benefit of seeing them in person 3- finding venues that will exhibit them 4- the financial struggle limiting exposure Which brings me to the main endeavor which needs to be addressed. The ability to, 1) get support from Granting Bodies and 2) to find opportunities for ongoing dialog with First Nations Artists and Elders The core issue for the body of work with this series is not simply a commercial one as many assume. Commercial to a point yes, in that sales are required in order to survive and continue with the work. I do not have the finances to simply paint and have a growing number of paintings in storage around me. And I've been told by a provincial and national granting body that one reason I wouldn't qualify is because my work is commercial! Commercial? For one, they haven't seen my work. The other reason they site, is that I am not recognized as a professional artist as I have yet to invited by a professional gallery to exhibit some of my pieces, and not having received a fee for any of my past solo shows which were held in Community Arts Council Galleries. My body of work extends from 1980 with my iconography throughout Western Canada through the past 36 years, and with the Journeying With The Totems series which began in 2013, followed by 3 Solo Exhibitions and pieces selected for two other major Art Shows. This is where the 'commercial' niche that I get stuffed into causes me some grief. One question that each granting body also asked was whether the series was in collaboration with a First Nations contact. It is an additional hurdle that I have because I myself am not Aboriginal, which I have always been very up front about. I privately have support from a number of First Nations Artists but it is too soon within the great Authentic Aboriginal initiative for that dialog around someone like myself who is on the fringe; not appropriating the work by carving copies or interpreting the totems inappropriately, but presenting close-ups while remaining true to what is there for the eye to see. There is no one else within this niche, which I created. I was asked by someone during one solo exhibition, whether I would consider teaching my technique to First Nation students. My answer was simple. Of course. So for now, there is no precedent in place yet for my work. So in the meantime, I continue to acknowledge the great works and the master that created them. I also do not allow myself any form of interpretation of the images by many artistic changes to their form etc. The Journeying With The Totems is not a commercial venture, even though it was assumed that the subject of the great west coast totems was intrinsic to the West Coast and held a deep interest globally. But my goal was not to simply copy totems on canvas in order to attain commercial success, but to bring viewers to a new close up view of the totems, so that they could then have a new appreciation when they see them once again in person. One recent Art Show highlighted another reality. One painting that sold received great reviews, primarily because of the colours. As a piece of art, that is a valid observation and interest. But it poses a problem for future paintings. If this was a purely commercial venture, choosing totem subject based on colours and popularity would become the driving force. But that isn't the goal of this project. As I sit here next to my studio space, I see all my colour photocopies of totem sections on the wall, which are waiting to be done. There are some that would be more commercially plausible, but there are many which I just need to do even though they may likely not be of interest for smaller scale collectors. But these images are time capsules in a totem's life which need to be recorded. A photograph could suffice, as documentation, but a photograph doesn't have the same artistic impact and longevity. I believe strongly in the energy captured as being different in a painting from a photograph. A photograph can be truly wonderful and artistic through the photographer's eye, skill and timing. All comes into place with the click of that shutter, and edits through the great photo editors available now. But a painting, also based on the artist's eye and skill, takes days and weeks to develop and complete, especially when remaining visually true realistic. The effort (blood, sweat and tears) and passion is all part of that energy that a viewer encounters, and why the paintings in my series are tactile. Their response is similar to mine when I am in front of a totem, and they feel the vibration I feel from the life of the wood and carving a master has set within it. People just want to feel the canvas and 'the wood' that they see. Long story short, this finally brings me to my specific need to successfully open the door with granting bodies. To remain faithful to the goals and development of this series, I do need the support from granting bodies (or a benefactor). The need is two-fold. 1) to continue on the series and maintain my studio and living expenses and 2) to continue in my research and documenting the totems in their original environment (an example being Haida Gwaii, Alert Bay etc.). I need to be at ground level of the homes of the totems, and to take my own photographs of the close-ups and lighting that would support the paintings. Because I stay true to the originals, I need images that have loads of visual information to work from. I do not use my imagination. But to break ground with the granting bodies, my checklist will have to be, addressing my professional status, collaboration with a First Nations Elder/advisor or artist, and then prepare the scope of the project for presentation. At the moment, this artist is going through another bought of weariness and self-doubt, typical for an artist. But one's passion maintains the focus for the next day and so on. The struggle and sacrifice to survive and support a family can bear heavily on one's art. Some may consider this as foolish, but I have to trust that somehow, I will, in the end, make a difference in my art as my legacy. With gratitude to everyone who have followed my blogs and my work throughout 2016. Wishing you a Happy and Blessed New Year.
I was thinking about the ongoing quest in getting the word out about the totem series and painting in general, and how I struggle with getting any momentum going with support and sales. It's a catch-22 which has plagued me. To me, the problem becomes apparent when you arrive to my website. It has a split focus between the iconography and my visual arts. And the two are distinct. I can see how that also confuses my supporters, as they too will likely have a split within their interest; either for the iconography or the acrylic paintings, or even both.
And within this catch-22, my studio time also becomes split, in the ongoing efforts for much needed income to support my son and I. With online sales remaining difficult to acquire, necessary to continue devoping the series, I have been fortunate in getting a few commissions in the iconography. Always in the nick of time in trying to pay the bills. But when I divert attention to my iconography side, it detracts from my other painting. My supporters in turn, come to see fewer postings of new paintings, and naturally lose interest. And without sufficient interest in the current paintings which are available, my time becomes taken by just surviving. And the iconography, even though my body of work extends over 30 years, for many, I remain an unknown, and the momentum has never taken off there either, even after very significant commissions. And on and on and on it goes. I've pondered much on the whys and wherefores, and take one day at a time.
And then you have some people jokingly say "Beautiful work, but could you move the decimal to the left a spot?" They may think it is funny but I'm not sure whether they understand how de-valuing their comment is. They are jokingly saying that all your hard work and hours put in a piece is only worth $190.00 instead of $1900.00 (for example). Is that what they really intended? I hope not.
For an artist, word of mouth is crucial. A witness who experienced your work is a great reassurance to family, friends, co-workers etc., in speaking about the work, and sharing ones experience with it. And in the meantime, I continue to try and find ways to make the artwork more accesable when viewed online, and ways to try and help people visualize the size of a piece etc. I welcome everyone to at least have a look at the pieces that are available, as well as the option of the very high quality canvas prints, including those for which the originals have sold. There were many title options to choose from for this latest piece, another work of love for the beauty I saw in some old pier poles which had washed up on a local isolated beach. There were descriptives that accented the age and weathering but fell short of the beauty within, and other descriptives that got too artsy.
In the end, the title that took its place, and speaks to the moment captured, is 'At Rest'. 'AT REST' 2016 © 24"x36"x1.5" Acrylic on Exhibition Canvas Available on the For Sale page: http://www.andreprevost.com/paintings-and-icons.html Other then the Kwaguitl Ancestor painting, the other two paintings within the Sidney Fine Arts Show didn’t sell. I appreciated the one sale and the positive reviews of it, but I was still pretty deflated with the news of the other two, and am trying to process once again. I really needed to have one more sale to cover critical issues on the home front.
In spite of the success of the Kwaguitl Ancestor painting, I was faced once again with the ‘What do I do now!’. The Ancestor sale after the 25% commission, show fees, and travel costs, doesn’t cover the paying down of the credit that I had to use just to get myself to the show. It leaves me with no room in the event of old appliances or a furnace malfunctioning. It does bring me back once again to, if my artwork doesn’t generate adequate means of support, I just get deeper and deeper in debt. I am also at an age where age discrimination gets in the way of my finding employment. The age old concept of benefactors supporting an artist no longer applies, and I don’t qualify for any granting programs. Some form of support is necessary to pursue further studies and research in the West Coast totems and carving and r the important sites within BC and Alaska. The two main themes of the conversations during the recent Demo and the Meet The Artists event last Saturday were, a) people loving my work and b) questions about my series re appropriation, permission etc. And as in other previous conversations/dialogs, the questions of appropriation or permission come from non-Indigenous persons. It's a hot button topic right now, and ongoing dialog is important. Some don't understand the variation and niche of my series. They also find it surprising that I haven’t received any complaint from First Nations contact(s) to date. I explain that, with the establishment of the Authentic Aboriginal program, it is too earlier for that dialog for how someone like myself and my work, fits in the picture. And until then, possibilities are on hold as no-one wants to talk about how my work may tie-in or enhance their own programs, until I am sanctioned somehow. The position that I've deeply thought through from the start, was that the series would always be about the original totems, and was to bring viewers to a close up of the revered totems, as with a facet of a cut gem. Mine is not to artistically interpret them, or incorporate them in artistic compositions. I've had the great blessing of Indigenous friends and contacts in my life, and I've always been sensitive and respectful of the Culture. I've always supported any and all efforts in the repatriation projects, securing authenticity for their art and culture, and working towards inclusivity. And some will know of my efforts within some of my previous management positions, and how my Indigenous focus was in part the cause that brought the cessation of those job postings for me. But my sincerity and intent was always clear in my own mind even when I was/am considered controversial. And the Indigenous artists that I know haven’t disavowed me for my current series. For example, an Indigenous story teller presented an event in the same space where I had a solo exhibition of the totems series. She sent a message to me with her appreciation of how the work supported her own event (and visa versa), but especially for how I acknowledge the originals and the master carver and stories. Unfortunately, with large shows like Sooke or Sidney, I am unable to include my own art labels. But as with my previous exhibitions, I continue the dialog about why or when artistic activity falls within First Nation crosshairs and why. I also explain how this informed (and continues to inform) my own foundation before beginning the series. I will never interpret a totem by using its image in an artistic composition. I stay faithful to what the totem is, and only the totem. This is why I will also never do a painting of a mask. The masks were not initially intended to public viewing, but until I receive permission to do so, I will stay true to that. But I can see in people's eyes that they don’t fully comprehend, and just see me as rationalizing my work. So the dialog will continue, which I've anticipated from the start, and remain very clear as to my integrity and sincerity in the project. Which brings me back to the Art Show that closed on Oct. 16th. I found it interesting that the ‘Best In Show’ went to a painting which also included a totem, but it was an artistic interpretation. I believe that the reason it won had to do with its night time composition which included a little bird, which had been added on the totem. It's a composition that I could never do as it begins to cross into that possibility of appropriation. During the demo, I had a lot of people assuming that the Best In Show was also mine and congratulated me. That was a somewhat eggy moment for them and myself when I had to explain that it wasn't mine. But it was a first for me to receive an Honourable Mention for the Kwaguitl Ancestor painting. But I suppose my focus with the series wouldn't succeed with art awards simply because my paintings have been described as being time capsules and less about artistic composition. Some will argue that my paintings don't speak about me or what I want the viewer to feel. The paintings are very much about me. It is about my response to the totems, and the awe that each totem draws from me as I stand in front of it. For me, it is such a gift when I can set my hand on a totem and feel its life and movement. The series shares that connection and the intent is to draw the viewer in to that up close experience and awe. It also a fact that the common reaction from all my exhibitions, including the large art shows, is "I just want to feel the wood (on the canvas)'. Back to the idea of time capsules, none of the totems presented in my paintings have remained the same. All continue the aging process after the image was taken. I am always struck by that fact whenever I go visit the totems at a later date, and see how much each has changed. But their lives are no different then mine. The reality is such that people who have known me through the years, will also be initially struck by the fact that I too have aged. I can only hope that my aging (our aging) can also maintain the level of integrity and nobility that the totems do. My work with the totems doesn't come into play until they begin to show the marks of their aging; the cracks expanding form their wood grains, their patinas, their paint finishes succumbing to the weather, etc. These tell an important story. Some have asked if I would do a painting of a new totem. My response is 'There is no point. A good photograph would do the job. My painting a new totem would be me painting the paint of the totem. When new, a totem has all the beauty of how its carver(s) transformed it, and has just begun the life given to it.' So, my integrity within the totem series has very much placed me in a weird limbo, on a fence so to speak. I don’t allow myself artistic license to interpret the totems, which limits me in addressing and satisfying non-Indigenous viewers in order for my work to be more lucrative. My artistic choice that I do allow myself is my cropping selection stage for a chosen canvas size. You will notice that , even though the totem series is in a 'series', no two are alike (with the exception of the Mosquito and Killer Whale paintings because they are from the same totem and from the same date the image was taken). Each painting begins from a blank canvas and I start with no preconceived plan. I allow myself to respond to each image and let it guide on a new journey. In responding to the images, that is also a big part of how I choose my next subject; which totem(s) that beckons. They sometimes even bump a painting already in progress. Granting bodies won’t support my work until it is validated by a collaboration with an Aboriginal artist or entity. But a collaboration isn't about validation. It isn't a question about my work being validated, no more then my work validating the totem(s). But a collaboration opens new opportunities for all parties involved. And to date, it is too early in that dialog before any clarification can be crafted for someone like myself within the Authentic Aboriginal movement. For me, my hope is to come to a point where it is ok 'for Prevost to walk along side'. In this show, the Kwaguitl Ancestor had great interest, siting the colours and uniqueness. Given that this particular totem is unusual, there are no others like it (that I'm aware of). I am left with the quandary that people are interested in stylized interpretations with lots of colour, so much so that, it shifts the focus from the original totem. That’s when you cross into appropriation. For example, if I switch to doing even tighter close-ups of totems details (just the eye, the nose etc.), and enhance the colours from the original, the original can no longer be recognizable, the power of the original is lost, and the original has been diminished. It isn't true to the actual totem at a particular moment in its life cycle. A tight tight closeup is about the cleverness of the closeup and artistic skill. That is not my base for the series. There are many totems that would have to be left out from being explored if I only do those that are ‘artsy’ enough. But I find that I can't maintain the totem series without some form of financial support. There are many still to do. Then, if I don’t paint the totems, and venture into more conventional art subjects (whatever that would be, which doesn't interested me in general), I know for a fact that I’d be in even more pressed in making ends meet in supporting my family. So that is my ‘limbo’. To reinforce why I do what I do, I wanted to share my great experience at VIU on October 12th. I put together a basic short video clip using the portion of the audio clip I recorded from the Tom Hunt celebration, both of his new totem, along with the completion of the overall project that saw the installation of 3 totems in all on campus. The partial audio clip was from the Kwakwaka'wakw Nation's opening singing and I added a few pictures that I had taken with my iPhone. I first requested permission to share my short video of the event. https://www.youtube.com/watch?v=NMYt37LemQ8 The Ancestor painting was awarded an Honorable Mention and sold during the Opening Reception on Oct. 13th. The trip to and from Sidney was quite challenging, with the torrential rain, fog and gusting winds. The Ancestor painting was awarded an Honorable Mention and sold during the Opening Reception on Oct. 13th. The trip to and from Sidney was quite challenging, with the torrential rain, fog and gusting winds. The other two paintings are well received but hadn't sold yet by the time I had to leave. I'm scheduled to do the round trip one more time later today to pick any unsold pieces, unless I receive a call saying that they have been sold. With the 1.5 hour trip, I'll have to head out by 4:30pm to get there for 6pm. The show closes at 5pm and if my cell phone rings while onroute, telling me not to continue, I'll turn around and go home. That would be a great problem to have.
It was a frosty start to the day but it turned out to be a wonderful Autumn drive to Sidney this morning. It was time to bring the three paintings to the show which opens this Thursday, October 13th. ( Photos taken by CanvasPlus.ca ) 'Blue Totems' 30"x40" on exhibition canvas 'Kwaguitl Ancestor' 18"x36" 'Mosquito' 18"x36" on exhibition canvas on exhibition canvas This may be the last time that these will have been in my home, and my hope is that all three will find their forever homes during the show. If you are interested in these paintings from the Journeying With The Totem series, you can view them October 14-16, 2016. Mary Winspear Centre
2243 Beacon Avenue Sidney, BC http://www.sidneyfineartshow.ca/ Friday, Oct. 14th : 9:00 am – 9:00 pm Saturday, Oct. 15th : 9:00am – 9:00pm Sunday, Oct. 16th : 9:00am – 5:00pm |
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