#metis art

[nightgalen]

métis hatsune miku !!!

[taplingzines]

"We've Always Been Here" cover reveal time! 🎉

As we prepare for our Kickstarter in March, we wanted to reveal our gorgeous wrap-around cover illustrated by @nightgalen showing an Indigenous Métis couple!

With this project, we aim to show queer joy from all over the world. It's a global celebration in times of censorship, and the resilience of Indigenous queer people amplifies this, making Gale's celebration of their Métis culture the perfect cover!

Pre-save the Kickstarter campaign here to get notified as soon as we launch (and get first dibs on early bird pricing)!

[thecreativecatalogue]

Multimedia Cree and Metis artist, Michelle Sound, uses embroidery, beading, and tufting techniques on photographs, documents, and other paper matter. She works with traditional materials such as caribou fur, porcupine quills, and beads.

Above, Top to Bottom: Michel Band / Strawberry Creek / Proclamation / Tawayik Lake / Sound Kinuso

[indigenouscontemporaryart]

Maria-Margaretta | she makes all things good. 2023

Billboard Exchange co-presented in Saskatoon, SK by AKA Artist-Run, Hamilton Artists Inc., and PAVED ArtsBillboard at 424, 20th St W, Saskatoon, SK

"How do we care for objects and the stories they hold? Artist Maria-Margaretta explores generational relations by considering the ways in which objects are created, kept, and passed down. Her photographic billboard, she makes all things good, reflects on her homelands and ancestral lineage through the transformative power of objects.

The image consists of three objects: an axe centerpiece held by a hand wearing beaded white gloves, placed against a canvas tent. Margaretta collaborated with Joshua Mangeshig Pawis-Steckley to create a sheath for the axe, adorning the object with delicate beadwork as a gift for their young daughter. The axe is a well-used family tool recovered on Pawis-Steckley’s nan’s beach on Wasauksing First Nation. Design elements on the sheath reference and honour their Métis and Anishinaabe heritage and shared journey as parents. Meanwhile, the elbow-length white gloves, beaded by Margaretta for her great great grandmother, embody the Michif matriarchs whose labour in raising families upholds Métis nationhood. The worn, olive-coloured tent belonging to Margaretta’s grandfather sets a warm and earthy tone to the image, reminiscent of her ancestral homelands in St. Louis, Saskatchewan. Together, the axe, glove, and tent carry the past into the present, envisioning new worlds for holding and dreaming with their daughter. "

[miaohki]

The Abyss ✨

[aleksiann]

One of my favourite land mammals to paint are buffalo. I love driving through Elk Island National Park and looking at these guys, so beautiful and mesmerizing.

[tehvinter]

guess who

[indigenouscontemporaryart]

Justine Woods | I love you as much as all the beads in the universe: a garment-based inquiry into re-stitching alternative worlds of love. 2021

Top: “We carry our homeland(s) close to our heart. (front view)”; Middle: “We carry our homeland(s) close to our heart. (trout filleting detail)”; Bottom: “Our bodies our stitched with 193 years of diasporic love (back detail of beaded Drummond island.)”

love you as much as all the beads in the universe: a garment-based inquiry into re-stitching alternative worlds of love “engages with a praxis of decolonial love through garment construction and beadwork as a practice-based method of inquiry. My research centres decolonial love as methodology with the expressed purpose to physically and conceptually re-stitch alternative worlds that are grounded in ethical practices and based on respect, empathy, reciprocity, consent and love. Engaging in decolonial love as praxis, the artistic production of my MDes thesis re-frames pattern drafting, garment construction and stitching methods within decolonial and relationship-based contexts. This MDes thesis prioritizes, and foregrounds, all of the relationships that make up my identity as an Aabitaawikwe of Penetanguishene, Ontario and centres these relationships as praxis towards building alternative worlds of love that honour, celebrate and mobilize Indigenous internationalism, intercultural solidarity, co-resistance and liberation.”

Justine’s research and design practice centres Indigenous fashion technologies and garment-making as practice-based methods of inquiry toward re-stitching alternative worlds that prioritize Indigenous resurgence and liberation. Her work foregrounds all of the relationships that make up her identity as a Penetanguishene Aabitaawikwe; an identity she has inherited from her family and her Aabitaawizininiwag Ancestors.