By Chelsea Moore, The Plant
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The Warren G. Flowers Art Gallery recently showcased the work of renowned Fabric artist Jobena Petonoquot. She refers to this specific collection of works as an \u201code to my grandfather and his resilience\u201d which is the inspiration behind the title \u201cThe Rebellion of my Ancestors.\u201d Her exhibit, curated by Lori Beavis, was held from August 29th to September 18th. Individuals were encouraged to interact with the physical elements along with the religious and political undertones that were weaved throughout the pieces.<\/p>\n
No corner was left untouched or wall unpainted. From the earthy colour scheme in contrast to the navy wall, to the carefully hung frames that greeted you upon your entrance, Petonoquot was meticulous in the way she presented her first exhibit. \u201cThe massiveness of other locations in comparison to my art limited me, this space really taught me how to place my art and paint the walls,\u201d explains Petonoquot.<\/p>\n
This gallery is separated into three sections, allowing Petonoquot to organize her pieces by theme. The first section was dedicated to what the artist explained to be an \u201cinteractive art piece meant to represent the distortion of identity and the ever remaining distortion of their identity\u201d as indigenous people.<\/p>\n
The second and third sections were dedicated to exploring colonialism and its lasting effects on Petonoquot\u2019s Algonquin community. There was an intentional Victorian-esque aesthetic that was carried throughout these two sections.\u201cIt\u2019s something that I encountered often, as I hold onto the stories my grandfather told me and now I am trying to tell them through my point of view,\u201d Petonoquot stated. One example of this aesthetic was executed through the delicate beading on the hanging baptism dresses, intending to represent the weaponization of Christianity towards the indigenous communities during the Victorian period. Another example was the small decorated containers of dirt, representing the importance of land to the indigenous community and how it was taken from them.<\/p>\n
\u201cI\u2019m using my art in a beautiful sarcastic way,\u201d says Petonoquot. She chose the route of Fabric art in order to show the fabricated identity thrusted upon her as an indigenous woman. \u201cMy main goal as an artist is to become a human. People are interested in a fabricated identity and selling you an idea and during my residency I had to get very real and get people to know me as a person, not just this indigenous commodity,\u201d she elaborates.<\/p>\n
After winning the 5th Edition of the residency impressions at the Montreal Museum of Fine Arts, Petonoquot wanted to take advantage of her newfound recognition. Currently, Petonoquot is collaborating with an artist on the board of Aborel Gallery on a project that addresses the indigenous relationship with slavery. She will continue to use her art to share her point of view and stay connected with her Algonquin community.<\/p>\n