“That was a pivotal moment… Just realizing that I can use my body to speak.” – Rebecca Belmore in an interview with Canadian Art Magazine
Happy Friday! Today we’re exploring the work of Indigenous contemporary artist, Rebecca Belmore, from the AGP #PermanentCollection.
Belmore is well known for speaking about identity through performative acts – integrating natural materials and repetitive movements to say something with her body. We can see this in her large-scale photographs, “Untitled 1, 2, and 3”, from the series “White Thread” (2004) which examines the relationship between spaces, Indigeneity, colonialism, and the body.
Emphasizing form, white fabric is wrapped around Belmore’s body; contorting and suspending her in a white room that insinuates the suffocating nature of a space rooted in colonial practices.
“Her photographs of a woman wrapped in cloth suggest, alternatively, swaddling, a papoose, a straitjacket, and even Harry Houdini,” explains Clint Burnham in an article for ARTFORUM. The work Belmore produces is both performative and political. This work confronts the nature of an Indigenous body in an institutional space, and the fine line between pain and performance.
A member of the Lac Seul First Nation (Anishinaabe), Rebecca Belmore is an internationally recognized multidisciplinary artist. She is the recipient of many awards and accolades including the Jack and Doris Shadbolt Foundation’s VIVA Award (2004), the Hnatyshyn Visual Arts Award (2009), the Governor General’s Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). She has received honorary doctorates from OCAD University (2005), Emily Carr University of Art + Design (2018), and NSCAD University (2019).
Image: Rebecca Belmore, "Untitled 1, 2, and 3," from the series "White Thread," 2004, pigmented inks on 100 percent cotton, neutral PH paper, ed. 1/5, Purchased with the support of the Canada Council for the Arts Acquisition Assistance Program, 2010
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