Untitled No. 4 (Concerning Land Politics, Cultural Paradigms and Scientific Negotiations)

Untitled No. 4 (Concerning Land Politics, Cultural Paradigms and Scientific Negotiations)

2011

Porcelain, Acrylic Glass


Emily Carr Graduation Exhibition

Photo credit: Yuiry Rzhemovskiy

This Project was originally inspired by the Spatsizi Plateau’s rich landscape and were first cast in red as a literal translation for the Tahltan word Spatsizi, meaning “Land of the Red Goat”. The name refers to the changing of the local goats’ fur from their natural white to red as they lay on the rich iron oxide soil. Located 200 miles north of Smithers, British Columbia, the Spatsizi Plateau is one of B.C’s largest and most significant parks, and until 1929 the Tahltan First Nations were the only inhabitants of the region. For me the skulls reflect the paradigm shift occurring in the landscape, where Tahltans and non-natives alike fight for the mineral rich land (mining and gas) while attempting to preserve the immeasurable cultural value of the landscape.

Although I am open for multiple interpretations, Untitled No. 4 (Concerning Land Politics, Cultural Paradigms and Scientific Negotiations) is my critique of static views on Indigenous peoples and natural resources that is sometimes employed by colonial hegemony to extract resources or manipulate territorial boundaries. I am critical of fabricated hierarchies in industry and governments that would not consider the many perspectives on the land and/or natural resources present in a region. The skulls set in the split plexiglass box, on one hand denote death, dissections and altered perspectives. On the other hand they resonate types of value and cultural significance.