Bnesi (Thunderbird) and Mishibijw (Water Panther)(2020) digital output on archival canvas, glass beads, thread, hide, metal, wood. The photographs and taken on Manitoulin Island. The birch bard refences Anishinaabe scrolls and the Thunderbird is a sacred bird symbolizing protection. The Mishibijiw (Water Panther) is a water being who controls water - the waves are visible on its back.
This work is available as a diptych or as individual works.
Diptych dimensions: 81 x 38 cm.
As individual works:
Bnesi (Thunderbird)(2020) digital output on archival canvas, glass beads, thread, hide, metal, wood. 41 x 19 cm
Mishibijw (Water Panther)(2020) digital output on archival canvas, glass beads, thread, hide, metal, wood. 41 x 19 cm
This photograph was taken by Ace in 2013 of the controversial Hamilton MacCarthy sculpture of the Indigenous scout that was relocated to Major's Hill Park from its original location as part of the Champlain Monument situated on Nepean Point directly behind the National Gallery of Canada. In the background is Iluliaq (Iceberg) by Greenlandic artist Inuk Silis Høegh looming in the background, and it is artfully framed by Ottawa's Central Art Garage.
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
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).
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.
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.
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
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.
The work is printed on archival Epson Canvas with a simulated birch bark background added via Photoshop from a scan of real birchbark. The work references Anishinaabe birchbark scrolls that are etched iconography stitched together with spruce root.
"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."
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
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
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 7:“Watch out there,”
A cheerful gender neutral bird with tears in its eyes was watching them.
They were perched on what seemed to be the wheels of an upturned wagon.
“It's fun to state the obvious so I'm just going to say it. Looks like you're dealing with a trickster”
“Nice choice of words,” said the witch laughing
Cut paper printing, stencil printing monoprint, gouache, marbled paper, copper and gold leaf, chine collé
