Canadian Art - - Generously Supported By Rbc -

Tsema Igha­ras is an in­ter­dis­ci­pli­nary artist and a mem­ber of the Tahltan First Na­tion. Igha­ras de­scribes her method­ol­ogy as Pot­latch, a cer­e­mony of re­cip­ro­ca­tion and na­tion build­ing. Igha­ras writes that she un­der­stands her prac­tice through the lens of Pot­latch, in which ev­ery per­for­mance of art­mak­ing is a “cer­e­mony that af­firms and so­lid­i­fies re­la­tion­ships to ev­ery thing and body.” In her re­cent grad­u­ate ex­hi­bi­tion, “LAND|MINE” (2016), at OCAD Univer­sity, Igha­ras en­acted these strate­gies of re­cip­ro­ca­tion and con­nec­tions to land, with the goal of trans­fer­ring “con­cepts and knowl­edge so the viewer can con­tem­plate ide­olo­gies re­lated to [land] be­yond the white cube.” Fo­cused on trans­fer­ring knowl­edge about no­tions of land, as well as bridg­ing Toronto and Tahltan ter­ri­tory, Igha­ras cre­ated a ma­te­rial li­brary of rocks, cop­per, ceram­ics, con­struc­tion orange, mir­ror and ob­sid­ian—ma­te­ri­als that ref­er­ence her Tahltan home. This li­brary, and the per­for­mance Khohk’ätss­kets’mä (2016), which ac­ti­vates them, af­firm Igha­ras’s re­la­tion­ship to the land, its ma­te­ri­als and its peo­ple.

Tsema Igha­ras Riot Rock Rat­tles 2016 Cop­per, rawhide and ce­ramic shell con­tain­ing glass beads, den­tal­ium shells, penny shards and Mount Edz­iza soil sam­ples Di­men­sions vari­able PHOTO JONATHAN IGHA­RAS

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