#gruntarchives

From the Archives 

February 3rd 1987

Sammy Sammy: Funkie: The Legend of Hornby Island

I’m a rambler, I’m a gambler, I’m far away from home

If the people don’t like me they can leave me along

I eat when I’m hungry and drink when I’m dry

If the whiskey don’t kill me I will live till I die

At the age of seventy I was still a terror,

Still a live wire that began to know fame,

And my motor still runs with whiskey,

From the Archives

July 16 1996

Laiwan: Small, Medium and Not Large: Books and Collages

 “This exhibition traces the various strategies Laiwan has chosen over the years (from 1982 to present) in her investigation of categorized identity. These works don’t posit right/wrong, us/them dichotomies, nor do they get washed away in liberal post-modern ambiguities. Using language as a primary source of engagement, Laiwan draws the viewer into a position that only self examination of our own “uniqueness” and sense of moral responsibility can complete. With just ourselves to consider, these art works become powerful reminders of the limits of our constructed perceptions.” (Brice Canyon, July 1996)

“I like the media of books and print as they convey ideas succinctly and intimately while being less intrusive to the ideas they contain. Perhaps it is because we have been with books for many generations that we are used to them and their intrusion.” (Artist’s Statement, Small, Medium and Not Large: Books and Collages, 1996)

From the Archives

February 17 1987

Paul McDonald: Ornamental Renegade

“McDonald’s craft responds to the need for humanistic furnishings in a high-tech age and echoes a frustration at modern, mass-produced furniture. Each piece is finished by hand, each is individual.” (grunt press release, 1987)

“Paint is usually the main ingredient in McDonald’s surface designs, but it is often combined with other substances to achieve the effect he is looking for. He won’t reveal the formula that he uses to create certain finishes, such as the textured stone surface of a long table and mirror frame featured in the show. But he would reveal one bizarre list of ingredients he hit upon for gold trim that has the metallic lustre of gold leaf, used on a table by Vancouver furniture designer Francis Lemieux. It’s a combination of powdered bronze, gum arabic, and honey.” (The Vancouver Sun, February 20, 1987)

From the Archives

February 6 2004

Sonny Assu, Peter Morin, and Daina Warren: Futuristic Regalia

“The three artists work with the wearable costume as a means to represent an indigenous body, while dealing with the stereotypes and realities of aboriginal communities.”

“Collecting soil from favored places on his reserve, Peter kneaded the dirt into a chose business suit. In this creative act he is collecting parts of his land, gathering memories of Tahltan life, and bringing those ephemeral aspects together with his everyday existence in a world of cement, buildings, glass, and work.”

“Sonny (Assu) chooses the entity of Spider Man/Peter Parker to connect with because of Spiderman’s organic ‘powers’. The mixture of spider and human attributes contrasts well with many the figures in West Coast folklore; many spirits are a combination of abilities that can shift from animal to human forms, have incredible spiritual powers and watch over the community, teaching the individuals social and survival skills...The fusion of West Coast Native and pop culture is a mirror of Sonny’s own cultural background.”

“Sonny, Peter, and myself are example of Native culture sustaining itself and utilizing traditional aspects to provide a spiritual or emotional strength. The traditional clothing still stands for security, for taking that security out into the public and using it to exude confidence and poise no matter what the situation, while remaining grounded to our ancient beliefs.”

"On this day in..."

February 13 1990

Mike MacDonald's 7 Photographic Works

"MacDonald's work has covered environmental issues and native people for many years and this exhibition of seven photographic works continues in this tradition. The works deal with totem poles and sustainability. Using mirror or reverse printing and multiple shots of a single pole gives the works a wider dimension. The works in this exhibition are from the Gitksan territory near Hazelton and are among the oldest still standing in their original environment." (grunt, 1990)

"His extensive knowledge of Northwest Coast Indian Art and Indian Music nudge his filming instincts. He has experimented with rock video, especially with Vancouver punk rock group D.O.A. He is interested in recycling, incorporating the concept into his lifestyle and work. Mutual concern has resulted in video tapes with Vancouver recycle artist Evelyn Roth." (The Hazelton Sentinel, 1986)

"From the Archives"