#mohawk art

Greg Hill | Kanata Boutique. 2004

From Kanyen’kehaka, Six Nations of the Grand River Territory, Hill has been exhibiting his work publicly since 1989 with more than 75 exhibitions to date.

Shelley Niro | Mohawks in Beehives. 1991

In Shelley Niro’s Mohawks in Beehives Niro can be seen poking fun at the media’s use of women’s bodies while also layering the context of an Indigenous woman’s body. Commenting on media depictions of Indigenous women and the on going racialized and sexualized violence experienced by Indigenous women–experiences that greatly go unreported within the mainstream—are seen tied in with humour and ‘old hollywood’ aesthetics to reclaim the Indigenous woman’s body and agency.  That agency is found within the glamour and elegance the women captured portray as well as the intimacy shown between them, elements of life and imagery that are often not given to depictions of Indigenous people.  More so, by having each woman look directly out at the viewer we are reminded that it is the women who are controlling this image.  We as viewers are being put on display as the three women shown size us up, demanding their independence, friendship, beauty, and agency be recognized all while scrutinizing the viewer.

Shelley Niro | The Rebel. 1991

In Niro’s ‘The Rebel’ the artist’s mother, June Chiquita Doxtater, poses coquettishly atop the the trunk of the family car. This image pokes fun of how the media’s use of women’s bodies while also layering the context of an Indigenous body.  Commenting on how the media portrays Indigenous women and the on going racialized and sexualized violence experienced by Indigenous women--experiences that greatly go unreported within the mainstream.

themes of humour and the unexpected are often found within Niro’s work, in doing so offering the viewer an opportunity to rethink their knowledge of Indigenous people.