As part of an ongoing strategy for survival, the work of Indigenous artists needs to be understood through the clarifying lens of sovereignty and self-determination, not just in terms of assimilation, colonization, and identity politics.
–Dr. Jolene Rickard (Tuscarora)
While researching the evolution of Eastern Woodlands design as a graduate design student in Cranbrook Academy of Art, I was inspired to embrace my Mi'kmaq traditions in the studio. At first, this appeared to invite critiques of Indigeneity more so than my work. I found strength and direction in the process however, developing my voice as an Indigenous designer while reclaiming and asserting my identity. As I experimented with ways to communicate with my audience, I also developed an interest in semiotics and product semantics.
In the studio, I choose materials and elements that further my communication while considering my responsibility as a culture bearer. Traditional materials (e.g. birch bark, porcupine quills) and motifs (e.g. double-curves) remain as relevant as ever. Given the continued threats to Indigenous cultures, I regard my practice itself as a contribution to the greater cultural revitalization efforts flourishing across Indian Country. And whether I am studying the quillwork of an ancestor, seeking guidance from an elder, or challenging design protocol, I consider it an act of decolonization, or rather Indigenous visual sovereignty.
Birch Vase
materials: birch bark, ceramic, birch, brass
dimensions: 8"x8"x12"; 2016
