KITE

Canadian Art - - Generously Supported By Rbc -

Oglala Lakota artist Kite says much of her work ad­dresses her dis­tance from fam­ily, fam­ily knowl­edge and truth. As a Lakota per­son adopted out­side of the tribe, Kite writes that her work “con­sis­tently springs out a feel­ing that I can get in­finitely close to land/fam­ily/ter­ri­tory/ tribe but they are just barely out­side of my grasp.” In her new­est per­for­mance and in­stal­la­tion, Ev­ery­thing I Say Is True (2017), Kite at­tempts to get close to her fam­ily, the land and his­to­ries con­nected to Pine Ridge Reser­va­tion, South Dakota, where many of her re­la­tions live, map­ping them on a dress made of con­cen­tric rings that she wears. The nest­ing rings com­mu­ni­cate Kite’s the­ory of time as non-lin­ear and the close­ness of past and present. Ex­plor­ing un­der­stand­ings of truth and con­trast­ing West­ern and Lakota con­cep­tions of time, the Los An­ge­les–based Kite per­forms her re­la­tion­ship to Pine Ridge. Lo­cat­ing her­self among his­tor­i­cal events, places and fam­ily, plot­ted as data points on the rings of her dress, Kite at­tempts to get close to not only who she is, but also where she is. ■

Kite Ev­ery­thing I Say Is True (de­tail) 2017 Dress doc­u­men­ta­tion COUR­TESY WAL­TER PHILLIPS GALLERY PHOTO AMANDA FARMER

RBC is pas­sion­ately com­mit­ted to sup­port­ing emerg­ing artists across Canada and in­ter­na­tion­ally, and is proud to part­ner with Cana­dian Art on this Spot­light se­ries.

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