Tony Zamboniâ in Glitch Artists Collective
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Tony Zamboniâ in Glitch Artists Collective

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MĂĽlmedveten, akvarell, 17x23 cm
Ett frÜ kanske inte landar där fÜrutsättningarna är de bästa. Ett träd kan stÜta pü problem i sin ungdom som kan fü det att bÜja sig eller välta. FÜr att klara sig müste det använda vad det har, sträva upp mot ljuset och hoppas att det finns familj och vänner som stÜttar. Mycket som oss.
âŚ
Determined, watercolour, 17x23 cm A seed might not land where there are perfect conditions. A tree might run into difficulties in itâs youth, that can make it bend or fall over. To make it, itâll have to work with what itâs got, strive upwards to the light and hope that there are friends and family around to support it. A lot like us. Â
â Ë・âŕ¨ŕ§ girly thoughts on the internet ŕ¨ŕ§â Ë・â

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Discover & share this Falcao Lucas GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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Discover & share this Falcao Lucas GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.
âcracked-lightâ
Discover & share this Indigenous Goddess Gang GIF with everyone you know. GIPHY is how you search, share, discover, and create GIFs.

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A very beautiful image of these smiley blackfoot. It seemed everything was alrightâŚ
Photograph by Mary T. S. Schaffer in 1907.
I just love how humanizing this is, itâs the first time Iâve seen us not depicted as the stoic archetype of this period
Pictured here are Sampson, Frances Louise, and Leah Beaver who actually were very close friends with the photographer and were regular subjects of her work. Itâs amazing what happens when you view us as people rather than museum objects - you capture us as people, as friends, as lovers, as parents rather than the stoic image of genocide and colonialism in-progress.Â
If youâre interested in learning more about female photographers and how they aided in representing native peoples through positive representation and ethical photography, I would suggest reading âTrading Gazes.â Mary T.S. Schaffer and other influential female photographers, and friends, of native peoples are given some much-needed recognition in this book while also discussing the white womanâs place in our genocide and colonization.Â
Iâm so glad this childâs face, in particular, is part of visual history.