In my practice, I reflect on identity through tradition, history, and culture. As an Anishinaabekwe (Ojibway woman) I negotiate my western upbringing and education with Indigenous traditions of oral and practice-based learning. The intersections of education and creating identity are a place I use to learn, unlearn, and relearn, repetition through performance allows me to develop a process of learning. Audio and video work allows me to explore oral tradition as an ever-evolving form of teaching that adapts to the grey spaces of urban Indigeneity that I experience.
Anishinaabekwe (ojibway woman)
Anishinaabekwe (ojibway woman), 2020. A performance piece examining my experience as an Indigenous woman and the relationships with my matriarchal family members. By beading, a bra I both conceal and exaggerate my nipples, linked to motherhood through breastfeeding and as a sexualised piece of a woman's body.
Walking In My Appropriation
A performance that took place on Nosehill, I hiked up the hill and put on my dreamcatcher dress to walk around. I walked for an hour and a half personifying an NDN princess. In this space that has been inhabited by my grandmother, my mother, and myself I am an Ojibway woman walking in my backyard.
untitled (dreamcatcher and DIY moccasin kit, without a frame) was created in 2020, exploring appropriation and accessibility I bought a DIY moccasin kit on the internet and was conflicted over it's intended purpose to be a cheap easily obtained piece of Indigenous culture that anyone could use and how I was using it as a starting point to learn about creating moccasins as an accessible entry point. Like dreamcatchers, there's marketability to these moccasins and the ability to take away their Indigenous framework and still have them be recognizable. Suspending both objects on the wall in a clinical examination the objects speak to their similarities and differences.