iteRATION
2016
Offset lithograph on paper, birch
On loan from the artist
In the spirit of spindle whorls, this Coast Salish installation is intended to provoke political questions about the core-poor-ration of Starbucks beginning in Coast Salish territory. This installation is an attempt to MEDIAte between Coast Salish graphic and 3 dimensional art. The white cups on a white wall, as well as the Coast Salish Starbucks spindle whorl, are intended to evoke a graphic feeling. The creation of a spindle whorl through the dimensionality of the cups evokes Coast Salish 3 dimensional art. The cups are intended to be a matte frame for the Salish Starbucks spindle whorl. Sonny Assu’s copper cups installation reflecting on the potlatch ban influenced this work. The printed design on the bottom symbolizes a hidden history and topography. On the top of the cups, the walls cover access to the cups. This symbolizes dispossessing Coast Salish peoples of our inheRENT right to resources within our territories. In international politics, indigenous peoples pay a price for cofFEE. The disposable nature of cups provokes questions about environmental ethics and the value of Coast Salish prints.
On a formal level, I was influenced by commercial graphic work early in my study of Coast Salish art. I was intrigued by how Joe David did some commercial graphic work in his early years. This inspired me to do two Starbucks Iterations to date. Thank you to Andy Whorl (no, not Andy Kaufman or Tony Clifton 🙂 Dr Andrea Walsh, and Dr. Evil for inspiring this installation.
lessLIE
P
Cultural CununDRUM
2013
Serigraph on paper
On loan from the Salish Weave Collection of George and Christiane Smyth
P
Inter(Indian)Act
2016
Serigraph on paper, Plexiglas
On loan from the artist
In the spirit of spindle whorls, this Coast Salish installation is intended to provoke political questions about the core-poor-ration of Starbucks beginning in Coast Salish territory. This installation is an attempt to MEDIAte between Coast Salish graphic and 3 dimensional art. The white cups on a white wall, as well as the Coast Salish Starbucks spindle whorl, are intended to evoke a graphic feeling. The creation of a spindle whorl through the dimensionality of the cups evokes Coast Salish 3 dimensional art. The cups are intended to be a matte frame for the Salish Starbucks spindle whorl. Sonny Assu’s copper cups installation reflecting on the potlatch ban influenced this work. The printed design on the bottom symbolizes a hidden history and topography. On the top of the cups, the walls cover access to the cups. This symbolizes dispossessing Coast Salish peoples of our inheRENT right to resources within our territories. In international politics, indigenous peoples pay a price for cofFEE. The disposable nature of cups provokes questions about environmental ethics and the value of Coast Salish prints.
On a formal level, I was influenced by commercial graphic work early in my study of Coast Salish art. I was intrigued by how Joe David did some commercial graphic work in his early years. This inspired me to do two Starbucks Iterations to date. Thank you to Andy Whorl (no, not Andy Kaufman or Tony Clifton 🙂 Dr Andrea Walsh, and Dr. Evil for inspiring this installation.
lessLIE
P
Daylight
2016
Serigraph on Mylar and silk
On loan from the artist
Conceived as a light in the bRAIN lightning, sketched in ARTificial and natural light. Photographed through the light of an Android phone. Posted on Facebook through the light of an Android phone. Viewed by serigraph printers through the light of iPhone, Android, and computer screens. UV lighting to create the screen. Light to use water to blast the screen. Printed in ARTificial light. Lit in layers with ARTificial and natural light. Sylvia Plath poetically proclaiming the moon borrows light from the quwut sun. Daylight as sacred in Coast Salish cosmology. An ode to light. The sacred suffering of women getting breast cancer working the night shift theoretically caused by ARTificial light. The sacred suffering of posterity paying for today’s depletion of natural resources. Solar Salish Prometheus powered.
On a formal level, this work also reflects different stages of a serigraph print. The Mylar paper, a found, coincidental meaning, symbolizes the graphic process, the translucent look of the moon and stars symbolizes glass, eventually used to frame prints. Sand as the source of glass. The ancient, sacred sands of the Salish Sea. The veil in front of the print can be simultaneously interpreted as a screen in the printing process, as well as interior decoration of drapes of Windows 1000, the view of the world.
lessLIE