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OSKÂYI ASKÎY
OSKÂYI ASKÎY

ᐅᐢᑳᔨ ᐊᐢᑮᕀ, which is pronounced Oskâyi Askîy, and translates to The New World in the Cree language.

ᐅᐢᑳᔨ ᐊᐢᑮᕀ explores themes of human survivance, engaged by Anishinaabe cultural theorist Gerald Vizenor as he writes about "the enunciations of dominance, tragedy and victimry." ᐅᐢᑳᔨ ᐊᐢᑮᕀ carries survivance into reflective spaces of activation, as we now witness international artistic trends engulfing the apocalyptic as illustrated in numerous symposiums, including the 2015 Art+Climate = Change Festival, which occurred in Melbourne, Australia, highlighting the works of artists and scholars from around the world.

In Art in The Age of Asymmetry, Timothy Morton proposes, "that we have entered a new era of aesthetics, shaped by the current ecological emergency." ᐅᐢᑳᔨ ᐊᐢᑮᕀ is an abstract body of work that considers a disconnected rapport with the environment as a result of misdirected human desire. The Sky, Animals and Land are processed through technology and are translated as flesh, fauna and playful apparatus. As a working artistic practice based methodology, this process acts as an exploratory space to consider future solutions to the calamity at hand.

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OSKÂYI ASKÎY: Development
OSKÂYI ASKÎY: Digi Abstractions
NOMADIC BOUNCE

Nomadic Bounce, looks at the tension of, “running to and from everything we love and hate at the same time; from place, from people, returning to the same place and same people.” The work draws upon this personal narrative to create a dynamic installation of laser-cut, shaped canvases as an intersection of the locative and the figurative. Nomadic Bounce was produced as part of an Indigenous Exchange residency opportunity between the RMIT School of Art (Australia) and the University of Lethbridge (Canada).

Laser cutting is a personal means to breath new breath into paintings. I first engaged this process in 2012 while on residency at the Royal Melbourne Institute of Technology. It was there that I created the Nomadic Bounce Series. I was the first at RMIT to cut paintings, and was granted permission and trained by the school of architecture as a visiting scholar. These are considered some of the first laser cut paintings in the world and is a process I continue to experiment with in my studio.

Since this time the site specific work as taken on new manifestations at, The Mann Art Gallery, Prince Albert, Saskatchewan; Strathcona County Art Gallery @ 501, Edmonton, Alberta, Mendle Art Gallery, Saskatoon, Saskatchewan; Urban Shaman Art Gallery, Winnipeg, Manitoba; The Esplanade, Medicine Hat, Alberta; The Judith and Norman Alix Art Gallery, Sarnia, Ontario; The Military Museum, Calgary, Alberta.

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THE GREAT CHIEF STAR (2015-2017)

Kisci-Okima- Achakwas inspired by Cree cosmologies. The painting of the seven suspended laser cut metal thunderbolt paintings started out inspired by the Hopi Prophecy Rock (before it was cut). A digital drawing of the constellation Lyra, was then mapped over the 10’x5’ sheet of metal. Venus (Morning Star) became the markers for the stars in the constellation Lyra. This map was then laser cut out of the metal. Thunderbolts shapes were used to symbolize dramatic change as well as other cultural metaphors. The palette for the work utilized my four sacred colors: scarlet red, naples yellow, turquoise blue and an earthy black. The work was suspended with industrial nails to offer a physical tension as well as to open the conversation up on many levels: chance and danger, Industry, pendulum of time, challenge the way we present paintings. The new media component (in development) for projection the project can be viewed here. 

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THERE WAS NO END

The There Was No End series includes immersive projects and randomized interactive digital media that utilizes significant symbolic Indigenous numeric values to inform narrative, color and repetition.

The 360° spherical display of 360 abstracted symbols of the Sun the Moon and the Earth appear in sequences of 13 to reference many Indigenous communities' 13-moon calendar. There Was No End utilizes ground-breaking research and development in the integration sensors and interactivity presented in the world's first fully articulated digital dome.

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