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Sketchbook August 2017, Maanii Oakes

handpoke and skinstitch earthline cuff for Shazeal

#earthline #ozhasaawin #cuff #breath of life #handpoke #skin stitch #skin stitching #plains #cree #cree for cree

video of fresh skin stitch cuff for dean

sketchbook page, my dad and auntie

(hunting scene 2 is intended to be part of a series with Girls of Goosebreak, it is also based on archival photographs of Waskaganish.)

hunting scene two, 8x11, framed, december 2016, ink and pencil crayon, approx .5 pounds, Maanii Oakes (exhibited in LAND) Hunting Scene 2 depicts a young woman in a traditional Cree parka trailing in four geese by tether. Maanii created this ink illustration in remembrance of her cree community and paternal grandparents. The drawing is in a purposeful circle, thinking of the endless cycles of life, and returning. The parka is based on one stolen by the smithsonian, from 1600’s northern so called “quebec.” She hopes one day to be able to see young women like herself reviving these old school designs and regalias, as she understands that indigenous and environmental survival are intertwined in this time of global water crisis.

#goose #jamesbay #cree #swampy cree #caribou skin coat #hunting scene #pencil crayon #native art #northern art #butchery #illustrations

girls of goosebreak, 11x 14, framed, december 2016, ink and pencil crayon, Maanii Oakes, As seen in Canadian Art Kinship Issue Summer 2017, Feminist Art Conference and LAND exhibition In "girls of goose break” Maanii explores the vital relationship between Swampy (or James Bay) Cree and Geese, an international symbol of so-called Canada, but a staple in Cree traditional life. Through this she explored ideas of precolonial governance and livelihood; remembering the words of her grandfather Henry Diamond, former chief and public opponent of the historic Rupert River damming. This11x14 inch pencil crayon and ink drawing was created during the reign of the Trudeau government, a transition from the Harper era that many Indigenous people hoped could bring reconciliation, for all our nations, and the environment. Instead the encroachment on natural law continues, and again and again despite pressure by chief and council governments the imposed prime minister ignores the north, in legislation and in crisis. Maanii’s work imagines futures like our pasts, separate from this colonial, patriarchal relationship. For this reason the woman figure in this illustration is based on archival photos taken in Waskaganish by HBC during the first days of illegal occupation in EEYOU ISTCHEE. This matriarch is drawn plucking a goose to feed the community, and as the feathers, a symbol of power, circle back into the air, Maanii in her evocative illustration encourages the viewer to think on what is the true governance of land.

#canadianart #james bay #swampy cree #kohkum #rematriate #matriarch #pencil crayon #illustrations #goose #butchery

in progress, 2017

#illustrations #art in progress

bloodroot, risograph on pink paper, 2016

#bloodroot #medical botany #medicinal plant #illustrations #risograph

labrador tea, 2015

#medicinal plants #labrador tea #art #black and white #stippling #illustrations

land acknowledgment commission for SKETCH Working Arts, 2015

#turtle #m'sheekehn #illustrations #commissionwork

awl making process

#awl #deerbone

arrow design skin stitch for a young culture carrier of the sylix nation.

#bow and arrow tattoo #skinstich #skin stitching #skin stitch #indigenous tattoo #indigenous tattoo revival #sylix #sylix tattoo #cree tattoo #ojibwe tattoo #ozhasaawin

My first handpoke tattoo at the earthline indigenous tattoo training residency. Was an honour to gift this cree breath of life design to such a strong and kind woman.

#ozhasaawin #cree tattoo #indigenous tattoo #native tattoo #cree #tattoo #handpoke tattoo #handpoke #indigenous #indigenous tattoo revival #black ink #breath of life #tribal tattoo

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