Jolene Arcand says she designed the image for the ‘Mother. Sister. Daughter.’ project to be full of symbolism and hope. (Jolene Arcand/CBC)
Growing up, Jolene Arcand was surrounded by art. Her mother sketched, beaded and played the accordion, while her father played guitar, sang and worked in tech.
Although she loved being creative, it wasn’t until Arcand was 35 that she decided to pursue art as a full-time career. Now, she says it’s her way of “finding peace through chaos.”
The Alberta-based artist and graphic designer also created the artwork behind CBC Manitoba’s “Mother. Sister. Daughter.” project, which investigates the progress made on each call for justice of the National Inquiry into Missing and Murdered Indigenous Women and Girls.
CBC spoke to the artist about how she finds inspiration and what was behind the work she created for “Mother. Sister. Daughter.”
What inspires your art lately?
Recently, my inspiration has come from discovering a deeper understanding of my Métis roots, culture and history. I truly believe art in all forms inspires people and change. I am grateful to be a part of it.
I am inspired by how art and design visually tell our stories: the truths, the injustices, the beauty and the resiliency. My style is not just one style. It changes with my environment, experiences, resources and time.
What inspired your art for “Mother. Sister. Daughter.”?
The concept is inspired by connections to Mother Earth and its healing and teachings. I ensured there was movement and change in the concept because this project is about addressing issues, taking action and implementing the changes necessary to end the genocide of Indigenous women and girls.
The clouds in the sky represent this change and movement, and the reds in the clouds represent urgency and a call to action. It portrays the contrast needed to get attention. I want people to stop scrolling and pay attention to the message.
What do the symbols you chose to include represent?
This design by Jolene Arcand is full of symbolism and meaning. From the colours in the sky to the contrast between them, Arcand says there’s a message. (Jolene Arcand/CBC)
Does your process change when working on a project with themes like MMIWG?
Since I walk with grief and loss in my heart daily, I understand it. Embracing the heaviness with empathy comes naturally to me. My mother was part of the Sixties Scoop, and she didn’t get to know her birth family until she was in her 20s.
I do a lot of research before ideating concepts. Sometimes, the research findings are emotional. I cried a lot during the research, but it was something I needed to go through. It’s important to give this project the attention and detail it deserves, so I ask myself how these women would want to be portrayed.
What does it mean to you to bring awareness to MMIWG through art?
It means everything. This issue is close to my heart as I feel this deep connection to helping our mothers, sisters, daughters and two-spirit people by helping to bring this national emergency to an end.
Art has this amazing ability to communicate information using visual storytelling, and storytelling is one of the many pillars of Indigenous cultures. I am honoured to help bring awareness to MMIWG through design and to be a part of such an important project.
I am seeing more Indigenous artists bringing awareness to MMIWG and other issues. It’s so incredibly important for us to keep this alive and loud to ensure the voices of MMIWG are remembered, recognized and heard.
What advice do you have for other Indigenous artists about using art to bring awareness to MMIWG?
I encourage you to research everything, read and listen to the stories and feel all the emotions (as hard as it may be). Let the emotion empower you and the direction of your art. Don’t shy away from inspiration. Keep going and keep creating, even if you feel discouraged or down. Find art in anything you do, whether sketching or beading — you can be seen and heard.
I’m reminded of a Louis Riel quote: “My people will sleep for 100 years, but when they awake, it will be the artists who give them their spirit back.” The more we create and design, the more impact we will have and the more awareness we can bring to help end this national tragedy.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
