Art
Nunavummiut have to stay home, but their art continues to travel – Nunatsiaq News
Restrictions due to the COVID-19 pandemic have greatly limited opportunities for travel from Nunavut over the last four months, but artwork created by Nunavummiut continues to reach a wide audience.
In certain cases, there’s an opportunity for those sheltering close to home to access those artworks virtually.
Take, for example, drawings showing life in an often-damaged environment in the North by Kinngait artist Qavavau Manumie, which are part of an exhibition that opened on June 5 at the Museum of Modern Art in Warsaw.
The exhibition, “The Penumbral Age: Art in the Time of Planetary Change,” runs until Sept. 13.
Manumie’s drawings, rendered in graphite, coloured pencil and ink on paper, often feature wildlife, such as a group of walrus, affected by climate change and the garbage that humans leave behind.
You don’t have to travel to Poland to see these drawings, as you can visit the exhibition online.
A cheerful emoji
Aija Komangapik’s cheerful Inuk emoji travelled far and wide in June, popping up on people’s cell phones on Twitter when they used certain hashtags celebrating Indigenous people.
The Quebec-based Inuk artist made good use of her time when the COVID-19 pandemic hit and her in-person classes at Bishop’s University in Sherbrooke, Que., were cancelled. Komangapik said she finally had time to go back to a bunch of art projects—including the emoji design.
“When you’re in school, you don’t really have time to do all the art you want to do,” she said.
“But during the pandemic, I had this big, creative explosion and did about 10 paintings.
Kinngait textiles
The surprise discovery of a crate full of forgotten printed textiles in a storage room at the Kenojuak Cultural Centre and Print Shop in Kinngait was the starting point for an exhibition at the Textile Museum of Canada in Toronto that began last December.
The exhibition, called Printed Textiles from Kinngait Studios, is currently closed to the public, but you can still have a virtual visit online.
The show presents the story of a group of Inuit artists who created a collection of bold graphic textiles in the 1950s and 1960s.
In the mid-1960s, the textiles were marketed by Arctic Co-operatives Ltd. across the country and were so popular that they were featured at Expo 67 in Montreal in 1967.
But in spite of that popularity, the textile-printing program in Kinngait came to an end in 1968.
This exhibition provides the visitor with an opportunity to see long-forgotten works by Kinngait artists, including Kenojuak Ashevak, Pitseolak Ashoona and Pudlo Pudlat.
A glass qajaq
You’ll have to travel to Ottawa to see the following work of art.
The Sivuniksattinu qajaq at the Ottawa Hospital took more than two years to complete. (Photo by Jim Bell)
Patients, visitors and staff at the Ottawa Hospital’s general campus are lucky enough to be able to see a physical representation of both Inuit ingenuity and artistry in the large waiting area adjacent to the main entrance.
Named “Sivuniksattinu,” or “For Our Future,” it’s a wooden-framed, glass-panelled qajaq, which was unveiled at a ceremony held early this year.
The production of the qajaq was very much a collaboration, starting with local elder David Erkloo, who repaired the wooden frame of the qajaq and provided guidance to Inuit artists Kaajuk Kablalik, Melissa Attagutsiak and Alexander Angnaluak, who, along with Ottawa-area glass artist Jennifer Anne Kelly, created the glass artwork on the qajaq.
The qajaq is intended to recognize the Inuit patients the hospital serves and it’s a symbol of reconciliation.
“The art piece is for everyone, even though it’s an Inuit piece, an Inuit symbol and an Inuit tool,” Kablalik told Nunatsiaq News.
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Unique art collection on display CTV News Vancouver
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Art
This N.B. artist joined an online movement. Now her art is being shown across the world. – CBC.ca
Since joining a community that dreams of an internet free from giant corporations that can exploit users’ time and data, Victoria West’s digital artwork has been exhibited across the globe.
West, a photographer and digital artist based in Burton, 30 kilometres southeast of Fredericton, has had her work shown in Paris, Rome, Barcelona, Townsville in northeastern Australia, Miami, New York City, and even a museum in Albuquerque, N.M., — all through connections she’s made in Web3.
West warned it was a “rabbit hole,” but what she found in wonderland she doesn’t believe she’d find anywhere else.
Web3 is a future version of the internet.
The work of Victoria West, a photographer and digital artist based in Burton, was recently showcased at an immersive exhibit in the Big Apple.
Web1, West said, was the first version of the internet, in which users passively consumed information.
As the 2000s dawned, Web2 emerged, and users could now post their own content — think Twitter, blogs, YouTube. People are now creating more and more in digital spaces, but the downside of Web2 is that corporations are technically still the owners of all that creation, and they could take your data and potentially do with it as they please.
Enter Web3, which still exists more in theory: nobody and everybody owns the internet. This version aims to be decentralized. It doesn’t eradicate the distrust some people have in mega companies like Google and Meta — it just removes the need for it, because no one person or organization can own the blockchain Web3 operates on.
West said within Web3 there’s an art movement, with artists working together and taking control of their work. Imagine if Leonardo da Vinci had an internet connection, as well as Raphael, Michelangelo and Donatello. It’s the renaissance all over again, West said, except it’s happening with digital art.
“And it’s happening online on a much bigger scale.”
Before learning about W3 in 2021, West said she was in a photography bubble.
Photography isn’t the art form West imagined herself pursuing when she was younger. But when she bought a camera after the first commercial digital models arrived on the market in the mid-2000s, she was hooked.
“I was bothering everybody around me to take their portrait,” she said.
She built up her portraiture business, becoming involved with the Professional Photographers of Canada and competing in photography contests. Still, West didn’t want to just capture moments — she wanted to make them.
That’s when artificial intelligence came on the scene.
West was using Midjourney, a generative AI program, when it was still in beta testing. Around the same time she became involved with Web3, she experimented with blending AI-produced textures into her photography. In her business, AI quickened her workflow and allowed her to change backdrops and furniture.
While creating a piece in 2023 called When I Die, West wanted to design a man underground with roots blossoming into a tree. Well, there aren’t any blossoming trees in Canada in February, West joked — so she made the tree using AI.
“I feel like someone took handcuffs off me, and I’m free,” she said.
Lauren Cruikshank, an associate professor in culture and media studies at the University of New Brunswick, has spoken about the use of AI in universities, but she also thinks about it through an artistic lens.
From the camera to spell check, Cruikshank said the same discussion happens with each new medium: how much of the artistry belongs to the artist, how much to the tools they’re using?
“For some people where it gets uncomfortable is where the role of the human is minimal compared to how much the AI tool is creating or having creative influence,” she said.
With AI, Cruikshank agreed there are degrees — there’s a difference between prompting an AI to generate an image of a beautiful sunset and claiming it as your artwork and what West is doing, combining AI with her own artistry.
“That sounds really compelling to me,” Cruikshank said.
When West first saw Lume Studios on Broadway in lower Manhattan, the place she’d eventually display Eden’s Dye, her immersive art exhibit, she knew she wanted it immediately.
She collaborated on the exhibit with some of her Web3 friends. Los Angeles actors and poets Laurence Fuller and Vincent D’Onofrio wrote poetry to accompany each piece of art, which West created using both photography and AI. A coder friend joined the crew, and the result was a floor-to-ceiling immersive exhibit. West’s collaborators also choreographed performances to complement the art, using music produced by AI.
“Why wouldn’t I do that if I can?” West asked. “It’s freeing, I think, and lets you push the boundaries of photography and what you can do with it.”
While the exhibit leaned heavily on romantic, classical themes and Baroque aesthetics, Eden’s Dye is almost a premonition: minted, digital artwork taking up entire walls in people’s homes, flowers growing from code, experiencing art in virtual realms.
Demand will only grow, West said. Technology will progress and the internet will change. But what she really wanted was for people to walk into Eden’s Dye and be amazed by the art they were experiencing.
“They came because of the art, and they were there enjoying the art. You don’t really need to understand anything beyond that.”
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