YAC brings new exhibit to your home
Mar 24 2020
Since the Yukon Arts Centre is closed to the public due to the COVID-19 virus, a video of its new exhibit, Emerging North, can be viewed below. The exhibit features eight Yukon artists and is curated by Teresa Vander Meer-Chassé. Artist's names and descriptions of their work can be viewed below the video.
The closure is temporary and we will keep you updated when the gallery reopens so you can enjoy this amazing artwork in person.
Krystle Coughlin Silverfox
Ets’edegél’ (Spear Game), 2020, cedar, acrylic paint, copperleaf
Ets’edegél’ (Spear Game) explores the anticipation and presence found in Winter games. 16 spears in mid-flight represents the movement of the spears mid-throw, and the excitement of the moment. Ets’edegél’ is inspired by Dene spear games such as Snow Snake, and Hoop and Poke.
Krystle is Northern Tutchone from Selkirk First Nation.
The Battle Between Octopus and Squid, 2017, yellow cedar, acrylic, sinew, courtesy of the Yukon Permanent Art Collection
When I made the piece, it wasn’t from a story but a feeling and vision that it could be done. I’v[e] been carving for 10 years and in that time I’ve talked to other carvers and master carver who all had the same philosophy, do art that challenges you and try to find that uniqueness that make[s] it yours. That is what I did with this piece from start to finish.
Diving Shark, 2011, yellow cedar, acrylic, abalone, black twine, courtesy of the Yukon Permanent Art Collection
This piece reflects a part of myself and how I feel about life and how I try to seize the day on a regular basis.
Benjamin is Tahltan from Northern British Columbia.
Pole Push, 2020
Knuckle Hop, 2020
Finger Pull, 2020
One Foot High Kick, 2020
All artworks ink on paper
It’s an exciting school day when instructors and coaches visit to teach you about the Arctic Winter Games. That was my first introduction to the games. I remember going to gym class and discovering a One Foot High Kick target set up along with a bunch of other foreign sports equipment. We spent the class learning about the traditional games & experiencing them first hand. I remember slipping while trying to land gracefully after hitting the seal target. I quickly learned how hard these sports were! After being invited to contribute to this group show, I quickly realized I wanted to create a series of 1 page comics highlighting specific Arctic & Dene games I grew up playing. Originally, I wanted these comics to explain all the rules of each sport, but I realized a lot of that information was dry and hard to illustrate in an interesting way. So these comics ended up becoming more descriptive of what these sports were, rather than the black & white facts on how to play them. For a full list of rules for each sport, visit the arcticwintergames.org website.
Cole is Tahltan from Champagne and Aishihik First Nation.
Jeneen Frei Njootli
Quake, 2013, silkscreen print, courtesy of the Yukon Permanent Art Collection
This work is part of a series that I have been working on since 2011 which takes on the form of print, photography, contemporary spirit, regalia, performance, video and installation. Quake shows a figure, in which appears to hover in space, with a halo of ricrac, engulfing the central image. It reads as a halo of confusion. The wood grain on her clothing calls to mind thoughts of home, especially home-scapes in northern communities, clad in wood wall paneling. Resilience, tradition and vulnerability are represented by the broken hand holding onto a muskrat trap form. Ratting has and continues to be a strong part of Vuntut Gwitchin culture. The figure in the image also appeared a silk-screen print onto chipboard as a component of Thunderstruck: my first solo exhibition at Toronto’s Whippersnapper Gallery. The exhibition was co-presented by the Decolonial Aesthetics of the Americas Symposium.
Jeneen is Gwich’in from Vuntut Gwitchin First Nation.
1986, 2020, moose antler, oil paint, red fox fur, birch bark, sweet grass, abalone, bugle beads, 24 karat gold beads, caribou hair, embroidery
When I read about recreating the torch (see image below) I immediately thought about using an antler to look like the flame and if I could combine that with some beadwork and red fox fur it would add to the effect. I knew I wanted a small blue detail near the centre to mimic that tiny blue flame you see when you’re watching the fire in the evening at fishcamp, sot that’s why I used the abalone. I also knew I was going to use sweet grass from the start, I just had to figure out how to have it below the torch, which lead to the idea of mounting the antler to the wall. I used the birch bark because it was a natural curl and it would be sturdy enough to hold the weight of the sweet grass. This piece was an adventure from start to finish.
Kaylyn is Northern Tutchone and Tlingit from Selkirk First Nation.
Heather Von Steinhagen
Paradise, 2020, wood panel, acrylic paint, glow powder, canvas, and resin, video projection, spray paint on wood
Endless sky, and breathtaking views – growing up in Whitehorse, Yukon was growing up in paradise. While the landscape seemingly remains untouched, I am aware of the exponential growth of population and industry. In creating Paradise I was thinking about the effects of industrial advancements and the toxic nature of the materials that I use in my artistic practice. Paradise is intended to engage, to investigate and to enjoy, much like Yukon’s natural supernatural landscape.
Heather is German and Plains Cree from Cowesses First Nation.
Blake Shaá’koon Lepine
Arctic Winter Games, 2020, woodblock print, acrylic paint
Guardians Of The Portal, 2019, acrylic paint on birch door
Blake used the Arctic Winter Games logo as a symbol embedded into the body of the Raven figure. He wanted to create a copper effect with the paint he used. The colourful brushstrokes that lay upon the Raven are representative of various games. (Information provided by the artist)
Blake is Tlingit from Carcross/Tagish First Nation.
Copper Arrows, 2020, wood, copper, feathers, acrylic paint, thread
Spirit of the Hunter, 2020, carved gunstock
He Never Went Hungry Again, 2020, woodburn on moose hide, fabric, thread
The wolf stayed true to his word and when he woke, there was two dead caribou, a gun and a bow and arrow across from him. He never went hungry again.
Violet is Tlingit from Carcross/Tagish First Nation.