In Conversation: Curator Adele ᒪᐢᑿᓱᐏᐢᑵᐤ Arseneau and Salisha Old Bull Due to gallery capacity limitations we will also be streaming the event live on our YouTube channel.
Pushing Boundaries exhibition page
Learn more about the artists:
Adele ᒪᐢᑿᓽᐃᐢᑵᐤ Arseneau
The impacts of the genocidal purpose of Residential “schools” are widespread, beyond society’s capacity of knowing. These 10 tihkinâkan ekwa wâspison (cradle board with mossbags) are the first of 161 pieces representing each individual institution engaged by the Canadian government to carry out its purpose of “removing the Indian from the child” as listed in the Indian Residential Schools Settlement Agreement. This initial offering names a school from each province who participated in these acts. With the reclamation of the lost children through ground penetrating radar at these sites, the incredulous reaction of societal acknowledgment of these atrocities indicates the lack of education within its population. It is my hope and desire these little babies find their way home back into the hearts of the people who reside on these lands. Their stories no longer lost but acknowledged and passed along to each person to give them a chance to live once again. This is personal, my grandparents and my mom were/are Residential “school” survivors. I invite each person affected by Residential “schools” to participate in this journey with me in making cradle board babies for our own inner child and healing. Let’s show the real and continued impact this has in the world and our lives. Please connect with me to find out how you can participate. Kininaskometin/Maarsii/Mussi cho. Artist Bio Adele ᒪᐢᑿᓽᐃᐢᑵᐤ Arseneau is a disabled, multidisciplinary Nehiyaw/Metis artist living and working on the traditional, unceded territory of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations. Displaced from her family’s traditional territory of Northern Saskatchewan, Adele grew up with the Dakelh (Carrier) people of British Columbia in Prince George, and Fraser Lake.
Salisha Old Bull
I enjoy an array of mediums in artistry, but I have an affinity to flat-stitch beadwork. I am motivated by the Salish history and Indigenous place-based knowledge. I have learned that place gives a sense of self and allows a person to grow intellectually and continue to explore their possibilities in life. I feel that cultural preservation is a strong influence in my life, and I enjoy combining imagery that reflects cultural values. I use beadwork as an expression of the nature that reflects my tribal heritage. My craftsmanship cannot be possible without the upbringing and teaching of my grandmother, Rachel Arlee Bowers. Artist Bio I am Salish and Apsaalooke and I was raised by my mother on the Flathead Indian Reservation, in Western Montana. My grandmother, and aunt had a large part in teaching me Salish values. I grew up admiring everything from the Salish cultural heritage. I also incorporate what I’ve learned from my Apsaalooke (Crow) background. I will strive to continue to practice our traditional lifeways throughout the seasons and pass them onto my children. This strong tie to our ways has allowed me to explore my love of art and integrate the love of Indigenous life into my work.