by Rose de Paulsen,
Rebecca Belmore is Anishinaabe and member of the Obishikokaang who creates political and personal art installations with sculptures, garments, photographs, videos, and multiple other mediums. Before she found remarkable success with her art, she grew up in Northwestern Ontario connecting with the land during her childhood. Her profound connection with nature would later inspire her works. She has been creating and installing her art since 1987 and attended Ontario College of Art and Design (OCAD) in 1988 . One of her early performances, Twelve Angry Crinolines organized by Lynne Sharman, had Belmore create “Rising to the Occasion”, a sculpture and garment that critiques colonization and how that has impacted First Nations women. She incorporated English saucers into breastplates on a dress resembling a tea gown. On the back the bustle looks like a beaver’s dam, entangled twigs with British utensils and Royal memorabilia. This dress, like the other “angry crinolines” a part of the parade was in response to the Duke and Duchess’ visit to Canada. Belmore would go on to create more profound performances protesting colonialism and the politics and social struggles faced by Indigenous persons.
Figs. 1-3, “Rising to the Occasion”
Fig. 4, “Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother“
She continued to mix performance with other mediums of art such as her performance Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother, in which she carried a giant wooden megaphone to a mountain meadow in Banff and various Indigenous community members spoke to the land. The wooden megaphone would then become one of Belmore’s most renowned works, with multiple videos of the performance available on YouTube. This performance also echoed her passion for nature and the land that provides for so many.
In her protests like Artifact #671B, Belmore brought attention to the government and Shell Oil’s mistreatment of Indigenous people and land. Belmore was surrounded by signs pointing to her as an artifact as if she were in a museum, while a giant Shell logo takes over the front of her. This also plays into how Belmore uses irony when being artistic. The way Belmore dresses in her performances and in her protests help amplify her messages. In 2000, her performance The Indian Factory she donned painter’s overalls and attached feathers on the back. This specific performance was to draw attention to racial violence towards Indigenous persons in Saskatoon. She combines the imagery of a worker’s uniform with imagery of Indigenous identity as she performs with several artistic tasks demonstrating anger and loss.
Fig. 5, “Artifact #671B”
Fig. 6, “The Indian Factory”
A common theme when it comes to garments and fabric is that most of them start white and end up having been torn and dirtied. This image titled State of Grace shows an Indigenous woman peacefully sleeping surrounded by white sheets. We then realize that the image has been shredded, we get a sense of unease. Belmore wants this to be seen as a violent action towards this woman. This echoes the historical violence indigenous women have faced. In the performance Bury My Heart a more graphic depiction, as Belmore buries a chair covered in blood to symbolize the violence against Indigenous women and children, often resulting in their death and disappearance. In White Thread and Untitled 1,2,3 Belmore depicts women tied by fabrics, first orange then the next 3 white. The women look bound and on display, impossibly bound there is no way they can free themselves.
Fig. 7, “State of Grace”
Fig. 8, Untitled 1,2,3
Her work Fountain was shown at the Venice Biennale in 2006 and was the first Indigenous artist to be representing Canada. This work showed multiple elements and how water turns into blood. This performance became one of her great achieving works.
Fig. 9, Fountain
In Sister Belmore drew attention to missing and murdered Indigenous women. You can only see her back and arms outstretched. Not being able to see her face you are left to think and wonder what is on the other side. In her blue denim, she draws you into the center image, and then you realize her hands look as if they are reaching away. She is not outstretched but her hands are pulling towards something on either side of her.
Fig. 10, “Sister”
In The Blanket a woman struggles with covering and uncovering herself with a Hudson’s Bay red blanket. It is clear this symbolizes the long and cruel relationship between the Hudson’s Bay Company exploiting Indigenous land and people. As she lies in the snow, we see themes from previous works of Belmore: Red and White contrast, a woman bound, long black hair, and a struggle taking place.
Fig. 11, “The Blanket “
Mixed Blessings is a piece that personally relates to personally Belmore and her experience. It is a mannequin crouching over with a hoodie that has slurs intersecting at the back. The entire area around it is covered in long black hair, radiating out like a gown’s skirt. Belmore would continue these garment installations with At Pelican Falls. It shows a blue collared shirt coming out from a sea of blue fabric. Belmore and other artists who contributed to this installation was inspired by a photo from 1955 of residential schoolboys in denim overalls looking out at a man fishing. In this case denim and its implications with residential schools cause one to think that the truth of residential schools is the same as dark waters. One must look under the surface to see the violence that is hidden.
Fig. 12, “Mixed Blessings”
Fig. 13, “At Pelican Falls“
nindinawemaganidog (all of my relations) (2019) combines some older aesthetics of Belmore with new works. We still see her uses of reds and being surrounded by cloth. The image of her in a rose and fur cape, makes the viewer think of royalty and opulence. This contrasts with the red dress nailed to a street post. The shreds of red fabric look like fallen rose petals and the struggle of trying to free herself by pulling the dress apart. There is a stark juxtaposition of a woman sitting with a beautiful cape and long hair versus a woman desperately trying to free herself in a disheveled area. This collection of photos encapsulates some of the best works of Belmore.
Fig. 14, “nindinawemaganidog (all of my relations)”
Rebecca Belmore continues making provocative and impactful works to this day. Her work inspires many others to share their stories and stand up for understanding, acceptance, and justice.
References:
http://modernistaesthetic.blogspot.com/2016/10/rebecca-belmore.html
http://belkin.ubc.ca/_archived/belmore/artist_info.htm
Seneca Canadian Fashion Diversity Project
The Seneca Canadian Fashion Diversity Project is made possible by a grant to fund the student researchers, as well as institutional support for dr. Mark Joseph O’Connell.