Marie Watt, Engine, felted wool, wood, and video, 2009.
“Engine uses one of the oldest fibers known to man – felted wool – to create a cave-like structure, with two chambers: Petroglyph Hall (with hand prints of those who contributed to the making of the project) and the Engine Core which is complete with stalactites, stalagmites, and integrated seating. If there are three or more people within the core, it is likely they will be sitting in a circle, a typical formation where stories are shared/conveyed/exchanged. In this space, a cycle of Indigenous storytellers appear in the form of a projected hologram on various areas of the cave wall. The stories that are shared have been passed on to each storyteller, giving them the right to share the story. These are storytellers who I grew up listening to and learning from a kid attending title IX Indian Education Programs in the Pacific Northwest’s urban Indian Community. The use of hologram-like projection is a nod to my youth and the Star Wars Trilogy which marked that time. I am interested in how the teachings in the stories I’ve included, similarly address the force of good and evil in the world and the role of humans and community in this web of life.”
—Marie Watt, Artist Statement
Before Israel killed him, Palestinian scholar Refaat Al Areer wrote to his daughter:
If I must die
you must live
to tell my story
Yesterday Israel killed his daughter Al-Shaymaa along with her husband and baby.
Who is going to tell Refaat and Shayma's story? Who's going to continue to tell the world how Israel obliterated entire bloodlines?
Refaat's poem continues to say
If I must die
let it bring hope
let it be a tale
We must promise to keep the tale alive and to uphold the legacy of Refaat, Shayma and the 40,000 others who were murdered by Israel in its ongoing genocide.
[ID: Photos of a clay rectangular relief sculpture of a Przewalski's horse. It starts on the left/hindquarters as a low relief cave painting and then becomes more realistic and higher relief to the right/front. The head is fully 3D and turned to look outward. The first photo shows it against a marbled paper background of blue, green, and white. The second photo is the same but leaning against a white wall. End ID]
DEPERSONALIZATION IN THE WORKPLACE / STANDING AT THE CROSSROADS OF CORPORATE VIOLENCE / I PROCESS THOUSANDS OF AMAZON RETURNS EVERY WEEK THE POEM, WRITTEN BY THE GASH.
PLAINTEXT BELOW:
i do not feel the death under my fingers but i know it’s there
i do not feel the lost digits but i can infer the number
i cannot feel the violence under the impersonal plastic but i know it well
fellow laborer i smell your blood on the plastic even though i can’t see it
fellow laborer i cannot feel your blood under my fingernails despite the fact that i know it’s there
how many of you young faceless ones have given your hands for a paycheck
how much flesh have they cut from your limbs in the name of automation
my arms move mechanically i am none but electrical impulses
nerves twitch
i speak the words of those who seek to cut out my own flesh to cut their check fresh and gleaming with my own fat
I made myself a thylacine plush with the lovely pattern designed by @palaeoplushies. The stars on the fabric are glow in the dark, and I’m super happy with how he turned out.
Anyways, y’all should check out Palaeoplushies’ shop. There’s a lot of cool stuff, and this pattern is really great. https://www.palaeoplushies.com/shop/thylacine-sewing-pattern
finished my short comic, titled AJDIG! full comic under the cut :)
AJDIG is a short comic i made for my maternal grandmother. my grandma hasnt seen a lot of my artwork, so i wanted to make something especially for her to enjoy. we dont have a language in common (she speaks chleuh and arabic; i speak french and english), so i also wanted to make something that could breach the communication barrier between us.
she cant read or write and shes never read a comic, so there were some limitations i had to work around when coming up with AJDIG: i obviously couldnt include any dialogue or text; i also couldnt have panels going left to right or right to left, because going from one panel to another wouldnt be intuitive. in the end i went for the format which seemed the most universal - a simple story read from top to bottom (almost no languages read from bottom to top).
this took a very long time to finish and i frankly didnt enjoy all of it - i didnt really have a good time doing the coloring - but im glad to have finished it!
Lawrence Paul Yuxweluptun | Portrait of a Residential School Child. 2005
Yuxweluptun’s strategy is to document and promote change in contemporary Indigenous history using Coast Salish cosmology, Northwest Coast formal design elements, and the Western landscape tradition. His painted works explore political, environmental, and cultural issues. His personal and socio-political experiences enhance this practice of documentation.
Yuxweluptun style has often been likened to surrealism but he prefers to call it “visionism”. “The symbolic forms are interchangeable, based on my needs when I make a painting,” he says in his artist’s statement. “The symbolism transforms into landscape and other forms to create a vision.”
Jack Vincent Anquoe, Jr. 'Tay-Nah-Tahn' (Kiowa Nation)
The original gouache painting with watercolor and ink is executed on a 1920s ledger page, just as captive Plains Indians did using colored pencils on lined ledger paper in the 1870s.