Painting | Print | Photo

Wayfarer, 

Casein and oil on birch panel

2020, 

79 x 79 cm.

I am working with paint to create pieces that reflect the placement of contemporary culture within the continuum of time. Each piece is created in layers.  Starting with the archaic practice of under painting with milk-based pigment that is over painted with oil.  I set a project for myself: I determined to try to paint each canvas to hold qualities I associate with three masters; each piece I was aiming for 1/2 Rothko, 1/4 Leger and 1/4 Kokoshka. 

Not copying them by any means but trying to evoke the spirit of the combination.  The quiet introspection of Rothko, the design of Leger and the organics of Kokoshka.  I could spend a lifetime trying to achieve any of the above but this is how I am framing this section.

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Blueberry Bat oil on canvas 

20 x 20"

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Francis Densmore and Maheengun (Little Wolf) (2020) mixed media on paper 23 x 9.5 cm, unframed.

Frances Theresa Densmore (1867 – 1957) was an American anthropologist and ethnographer who was known for her studies of Native american music and culture. 

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Bagonegiizhig (Hole in the Day) (2020) mixed media on paper 18 x 13 cm, unframed.

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Tekahionwake (Pauline E. Johnson) 3 Views (2020) mixed media on paper 18 x 13 cm, unframed.

Emily Pauline Johnson (1861–1913), also known by her Mohawk stage name Tekahionwake ("Double-Life") was popular in the late 19th and early 20th centuries as a poet, author, and performer. 

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Nahgunegahbow (Standing Forward) (2020) mixed media on paper, 23 x 9.5 cm, unframed.

The Hudson’s Bay trade blankets carry with them a long narrative of colonization and trade history with the peoples of the Great Lakes, but also carry with them culture specific signs and semiotics as the blankets became assimilated into Anishinaabeg material culture. The trade blankets were at one time revered and were offered as highly valued gifts and were worn as regalia on important occasions and even fashioned into garments such as coats. When these blankets were decorated with a beaded blanket strip, for instance, they took on and even greater cultural and spiritual significance. An early photograph taken by Charles A. Zimmerman (circa 1872 and 1890) and sourced from the Smithsonian Institute of Nahgunegahbow or Mahjegahbo (Standing Forward or He Looks Well Standing Forward) wearing such a blanket and blanket strip is a fine example.

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Tekahionwake (Pauline E. Johnson) (2020) mixed media on paper 18 x 13 cm, unframed.

Emily Pauline Johnson (1861–1913), also known by her Mohawk stage name Tekahionwake ("Double-Life") was popular in the late 19th and early 20th centuries as a poet, author, and performer. 

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Micro-Chip and Nahgunegahbow (Standing Forward) (2020) mixed media on paper 18 x 13 cm,, unframed.

The Hudson’s Bay trade blankets carry with them a long narrative of colonization and trade history with the peoples of the Great Lakes, but also carry with them culture specific signs and semiotics as the blankets became assimilated into Anishinaabeg material culture. The trade blankets were at one time revered and were offered as highly valued gifts and were worn as regalia on important occasions and even fashioned into garments such as coats. When these blankets were decorated with a beaded blanket strip, for instance, they took on and even greater cultural and spiritual significance. An early photograph taken by Charles A. Zimmerman (circa 1872 and 1890) and sourced from the Smithsonian Institute of Nahgunegahbow or Mahjegahbo (Standing Forward or He Looks Well Standing Forward) wearing such a blanket and blanket strip is a fine example.

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Bluethroat, painted woodcut block

8.5” x 10” x 1.5" deep

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Robin, painted woodcut block

10” x 9” x 1.5" deep

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Hare, this new animal portrait captures the hare in alert repose. Oil on canvas, 128 x 20 cm.

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Otus and Ephialtes, 2019. Linocut 16 x 22 in, edition of 4, printed on Arnhem 1618.
Excerpt “Otus and Ephialtes” by Anna Williams
Breaths catch
Blood pools
The brothers are consumed with a new hunger.
Practiced predators,
They split and flank.
Aim and launch.
From either side of the glade
The sing of spears cleaves the silence
Artemis leaps.
Reflected horror glints on polished blade
A mirrored death.

Printed on the artist's ingenious home-made printing press (made of a car jack, melamine and oak). Created for her upcoming solo exhibition Untold Stories I once Wished Lost at the Karsh-Masson Gallery (re-scheduled for 2021).

Erin Robertson's large oil on canvas painting Gelee Blanche Givre was presented at the artist's solo exhibition Semence/Seed at the Galerie Montcalm in 2019. 48 x 64 inches

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Europe and Zeus, linocut, 16 x 22 inches. Edition of 4, printed on Arnhem 1618 paper.

Printed on the artist's ingenious hand-made printing press (made of a re-purposed car jack, melamine and oak). Created for her upcoming solo exhibition Untold Stories I once Wished Lost at the Karsh-Masson Gallery (re-scheduled for 2021).

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An Untamed Bond, Part 2 of 5 of The Allegory of Atalanta, linocut, 2020.  Edition of 6, printed on Arnhem 1618, 16 x 22 inches.

When Atalanta was born, her father had hoped for a boy and so he left her on a mountainside to die of exposure as was the practice with unwanted girls or disabled children. Artemis, in the form of a shebear, found her and suckled her. She was raised as one of Artemis’ huntresses.

Printed on the artist's ingenious home-made printing press (made of a car jack, melamine and oak). Created for her upcoming solo exhibition Untold Stories I once Wished Lost at the Karsh-Masson Gallery (re-scheduled for 2021).

Wintersleep is a morning glimpse of the river in front of the artist's home studio that reflects magnificently the opposite shore. An  oil on canvas, 66 h x 48"w.

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Bleu d'Or, or Blue Gold is a moment captured in a morning glimpse of the expanse of river in front of the artist's home studio. An  oil on canvas, 48 h x 24"w.

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 Untitled, unknown portrait from the Smithsonian Museum.

As our digital age exponentially transforms and infuses Anishinaabeg culture (and other global cultures) with new technologies and new ways of communicating, we are harnessing and bridging the precipice between historical and contemporary knowledge, art and power, while maintaining a distinct Anishinaabeg aesthetic connecting generations. Barry Ace

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Thunderbird and Shaman (2020), Epson Archival Canvas, beads, wood, metal, thread, hide, approx. 12 x 13".

From the artist's Memory Landscape diptych series.  The Thunderbird is beaded above a pictograph of a Shaman figure from Lake Matagamasi located in the Sudbury District.  Ace took the photograph in the 1980s while on a canoe trip through the lake.

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"For all of us it can look like a lot of things are going wrong on so many levels and so many places around the world. I thought it was an appropriate time to look back at a social contract drawn up in 1789. La Déclaration des Droits de l’Homme et du Citoyen or what translates as the Declaration of Human Rights - is not perfect nor is it complete - but I think it is still a powerful statement that needs to be heard again. 

In the French language, I reproduced the original document in a mosaic style with over 17,500 letters composed of murrini. The murrini technique originates from Roman times and has recently been revitalized. Over several months, I created each hand-made letter with Italian Moretti/Effetre glass - COE104. I used a dark red reminiscent of the colour of blood for the letters with a ivory background as contrast and to symbolize the ivory tower that freedom has to be taken from. A murrini triangle with an eye found at the top of the work represents equality and the all-seeing eye of Providence. All these letters are set into a frame that is from the late 1800’s. 

This piece aims to take the ancient technique of Murinni and create one of the largest work of its kind with the text of what I believe is still one of history’s foremost expressions of human rights." 

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This print is a part of McIntyre's series, Familiar, a tale about a nervous witch who goes on an adventure as told in an analogue Instagram feed. All the prints in the series are unique 1/1 editions.

Print 12: Suddenly a glimmering asymmetrical winged horse chariot appeared from nowhere.

Cut paper printing, stencil printing monoprint, marbled paper, chine collé

12 x 12 inches

2019

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This print is a part of McIntyre's series, Familiar, a tale about a nervous witch who goes on an adventure as told in an analogue Instagram feed. All the prints in the series are unique 1/1 editions.

Print 11: The intense disappearing into remembering was beginning to make the witch feel weird.

“Move.” said the witch's body.

The witch put her cards down and stood up.

The light was starting to change.

It was twilight.

The clouds shimmered silver and gold in the setting sun.

The witch walked along the edge of her beloved forest.

“Everything okey dokey?” asked the ginormous disembodied clown face.

Cut paper printing, stencil printing monoprint, gouache, gold and silver leaf, chine collé

12 x 12 inches

2019

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