A powerful new art exhibit currently on display at The Confluence Historic Site & Parkland takes viewers into a jubilant celebration of contemporary local Indigenous artists embedded deeply in traditional teachings, protocols, and art forms.
Digital Voices, part of The City of Calgary’s Indigenous Public Art Program, features eight Indigenous artists chosen for their excellence in digital art, or art produced through a myriad of technological means including digital manipulation of photography and work created completely in digital formats.
Chosen through the work of a curatorial panel led by Indigenous Public Art Curator and lead, Jessica McMann, the artists showcased represent a broad spectrum of the quality and vibrancy that can be achieved in the digital art form.“Digital technology continues to open up whole new perspectives for artistic experimentation,” says McMann (Cowessess First Nation) who spent two years visiting the studios of artists before developing a program specifically for the innovative art form.
“The new world of digital art is radically evolving the way artists can use their voice. It is readily available and often a way into art that requires less space and supplies. The possibilities really are endless. Here we see artists emerging to established reflecting their relationship to Mohkinstsis with these tools – and experimenting with precision and vibrancy.”
For the artists in the program like Andrew Holloway, digital art allows for a revolutionary artistic expression of some deeply traditional ideas.
“My culture is my true inspiration,” says Holloway, whose piece titled Warrior Spirit reflects his sentiments about his personal history. “As a proud Indigenous man from Treaty 7 I believe that sharing my own culture through my art will help keep it alive and thriving. My art represents a modern take on Indigenous culture. My culture and my grandparents inspire me the most. I grew up watching my grandmother bead regalia, while my grandfather would create many traditional crafts in his studio. I always looked up to both of them. I love being able to practice and participate in beliefs and traditions that are handed down through time. This brings me the most joy.”
For Anishinaabe artist Georgina Metzler, intense colour and quality of digital art is seen in her exhibit piece, Ikwe.
“I submitted a few digital works and Ikwe is my favorite but I wasn’t sure how a government would take it because it is a statement about how we’re still here after all that was done to us and especially the legislated attacks on Indigenous women,” reflects Metzler, a graduate of AUARTS. “I was inspired to draw her after reading 21 Things You May Not Know about the Indian Act and finished the part about the attempted destruction of women through legislative changes to the Indian Act. It was heart wrenching, and that visceral intentional dehumanization remains. As in, we were not legally humans until 1960. Can you imagine? I think that this dehumanization of our people, to this day, gives some people the thought that we don’t matter, that we’re these stereotypes, that the ones they know are “different” but we’re not different. It makes me sad that some people don’t understand that we’re not talking about ancient history.”
Metzler focuses on the hope that enhanced exposure to Indigenous stories through art events including the Digital Voices exhibit will help enlighten the path to collective healing.
“I feel like through our art maybe people can understand. I think programs like this are important because they help us to not be invisible and maybe through the diversity of art styles it might start breaking stereotypes and break down people who just ignorantly hate for hate’s sake. Maybe they’ll learn something about the culture and history, even though it’s painful. It’s important that we speak and it’s important that people listen.”
Mohkinstsis/Calgary-based artist Autumn Whiteway says her practice was born out of a need to connect with her Anishinaabe culture.
“I have no post-secondary training in the arts, so my practice was truly born out of a need to connect with my Anishinaabe culture, and provides a creative outlet for me to visually explore topics of concern to Indigenous peoples. I may not always speak eloquently with my words, but art affords me a different means to share my voice,” says the creator of two pieces in Digital Voices titled Mohkinstsis and Indigenous Lives Matter. “It is my hope that the artworks I create will challenge the viewer to question colonial narratives and look inward to confront negative biases towards Indigenous peoples. I aim to educate through my art and to foster dialogues between Indigenous and non-Indigenous peoples by drawing attention to histories and challenges that they may not have known otherwise.”
McMann says the Digital Voices exhibition is an integral initiative in the work being done through the Indigenous Art Program to remedy the lack of Indigenous perspectives in The City of Calgary’s collection.
“Of The City’s public art collection, which now has more than 1,300 pieces, less than three per cent was created by Indigenous artists,” explains McMann. “A big part of my focus through the Indigenous Public Art program involves taking meaningful steps to improve opportunities for Indigenous artists to consult on, participate in and create public art in Calgary. This show reflects that while capturing the stories artists are telling through digital mediums.”
Crystal Clark hopes her art will inspire others to appreciate and read into the visual poetic narratives of her artwork. The Métis/Denesuline/Nehiyaw artist is exhibiting two artworks, Mostos Otisiy Buffalo Belly Button Brings Sîkwan Spring __ and Kicikânêsîs black capped chickadee awakens our spirit with its morning song.
“For many years Indigenous peoples have been displaced, erased, unheard, and devalued,” contemplates the Rocky Mountain House-based artist. “Creating space and opportunities for Indigenous peoples such as through this program not only connects to the Truth and Reconciliation calls to actions but also helps uplift Indigenous and non-Indigenous peoples alike. When people have an opportunity to see and learn from us, positive perceptions will replace the passing down of generational negative perceptions and racism. At the same time, I hope my work influences happiness for all those who ponder it.”
The Métis/Cree artist known as WÂPOSHPYII, whose artworks, NAKII PIMBAHTAAHK ANOOSH, “stopped running today” and Mayshkoohtaashta/Change says art is a primary means of fostering healing and a sense of cultural validation and understanding.
“My artistic practice is rooted in my heritage, celebrated for its spiritual and healing properties, truly a medicine for the soul,” describes WÂPOSHPYII.
WÂPOSHPYII believes the power of seeing the entire Digital Voices exhibit together in all its brilliance will help tell the stories of the artists as a microcosm of Indigenous culture in a whole new way.
“I believe this cultivates inclusivity, understanding, and solidarity within the community beyond mere land acknowledgments. The Indigenous communities upon whose lands The City stands offer rich artistic contributions that deserve to be prioritized, showcased, and celebrated and I love playing a role in that.”
The Digital Voices exhibition is open to the public from Oct 3, 2024 to Jan. 2, 2025 at The Confluence Historic Site & Parkland. Visitors may also attend a reception with the artists the evening of October 10 at 6 p.m. More details are available at Indigenous public art (calgary.ca).
