A river mural
villa rosa
report by rhian brynjolson, art specialist
“Women have been raising their babies along this river for over 6,000 years.” That was the sentence that caught students’ imaginations. This sentence appeared in a serendipitous article in the Winnipeg Free Press, just as we had been discussing a mural project for our outdoor classroom. The article explained how the remains of an ancient campfire had been unearthed at the Forks, and archaeologists had determined that someone had eaten catfish at that spot 6,000 years ago.
Materials for the mural were funded by the MAAE Grant. The mural was designed for the concrete retaining wall in the back yard at Villa Rosa. Our high school students are all new moms or moms-to-be, which is why they connected so strongly with the idea of past generations of mothers and babies. Most students live on-site in the residence, which made them more invested in the idea of a mural to enjoy in “their” back yard. |
We brainstormed our ideas about the river and the people who lived here before us. We learned it was once the traditional land of the Anishinabe and the Dakota peoples, and that it was the homeland of the Metis. The rivers, and the land around them, would have provided a rich habitat for the life-giving plants and animals that sustained those communities. We researched the rivers as transportation, the growth of the Red River Settlement, and the changes that have occurred in this location over time. Conversations jumped to the river itself, and students had questions about why the river was so dirty, where the river flowed to, and how the Red River floodway worked. We had the advantage of being able to step outside the art studio door and observe the Assiniboine River at the edge of the yard; I’m sure it’s the prettiest classroom in the city!
We had difficult conversations, too. Several students had relatives who were among the missing and murdered Indigenous women, which gave them a very different perspective on their relationship to the river. We talked about the Drag the Red initiative and the Bear Clan Patrol, and what an act of love it was that so many people volunteered their time to search the rivers for signs of missing loved ones. It was very important to have a sensitive and positive Aboriginal Elder, Pahan Pte San Win, working with us through some of those discussions. We talked about how artists can help to bring attention to these issues, and looked at the Walking With Our Sisters installations initiated by artist Christi Belcourt, and the REDress Project by Jaimie Black. We visited the REDress installation at the Canadian Museum of Human Rights.
We had difficult conversations, too. Several students had relatives who were among the missing and murdered Indigenous women, which gave them a very different perspective on their relationship to the river. We talked about the Drag the Red initiative and the Bear Clan Patrol, and what an act of love it was that so many people volunteered their time to search the rivers for signs of missing loved ones. It was very important to have a sensitive and positive Aboriginal Elder, Pahan Pte San Win, working with us through some of those discussions. We talked about how artists can help to bring attention to these issues, and looked at the Walking With Our Sisters installations initiated by artist Christi Belcourt, and the REDress Project by Jaimie Black. We visited the REDress installation at the Canadian Museum of Human Rights.
Students began with individual responses, writing and sketching what they thought was important. Beginning with these ideas, students were encouraged to do some research, looking for images and text that would help them to deepen their understanding. One student noticed that Jackie Traverse was using butterflies to represent MMIW in her murals around the city, and in her paintings, and so she decided that her panel would be entirely of butterflies. Other students were given the challenge of trying to unify the mural, pulling together the mix of ideas to create common element; a story or visual motif. They decided the mural should travel from past to present, from night to day, and from country to city. Each student drafted segments of the mural in their sketchbook. In some cases, several pieces were combined into one panel, but others were fully-developed drawings. Student drawings were photocopied and collaged onto larger paper for fine-tuning and discussion. Once we had the plan, cutting and priming the ten Crezone plywood panels was my job (since we try to minimize the exposure of pregnant and nursing mothers to potentially toxic substances.) Students used a document camera and projector to trace the sketchbook drawings onto the prepared mural panels. The panels were stacked in a corner of the room when not in use. When it came time to paint, we spent some time looking at work by a variety of modern and contemporary Indigenous artists. We viewed work by Daphne Odjig, the grandmother of Indigenous art, because she lived and worked in Winnipeg for many years, and started the first Aboriginal art gallery. Her circle motif and flowing lines were an accessible style for students, and her large painting in the National Gallery of Canada, The Indian in Transition, is a wonderful example of how artists can create meaningful social critique. We looked at Jackson Beardy’s work, because the river of life that flows through many of his painting seemed to be naturally connected to our project. We talked about the connecting lines and symbolism. We looked at Norval Morrisseau’s bright colours and the political nature of his work, Landrights, as well as Alex Janvier’s Past the Pain, Residential Schools. We noticed how Jane Ash Poitras included text in her work Louis Riel, Shaman Child, Big Bear, Poundmaker. Students loved the bright colour and pattern in George Littlechild’s Idle No More. We viewed images from the Perception series by kc adams. We looked at Jackie Traverse’s Mother and Child paintings, and discussed her community activism. And her colouring book -- students loved her colouring book! We looked at work by Wendy Red Star, Adrian Stimson, Brian Jungen’s brilliant sculptures, Jim Logan, Ruth Cuthand’s beaded viruses, Robert Houle, Edward Poitras, Christi Belcourt’s fashions, and Rebecca Belmore. Lita Fontaine visited our class to talk about Indigenous artists and show us her traditional dresses. This rich mix of visuals and the different approaches to representation enriched students’ ideas about the uses of art, and introduced them to successful and outspoken contemporary artists. When the painting started, the process began to slow down. We had the challenge of many doctors’ appointments, births and absences due to illness of moms or babies, attendance at community programs, parenting classes, students transitioning in and out of the residence, and tired new moms who were often called out of class to the Parent-Child Centre down the hall to tend to their babies. The panels were painted slowly, in fits and starts. We used good quality exterior acrylic – house paint -bought on a discount from Pollock’s Hardware Co-op, with help from a grant from MAAE. Some panels were painted entirely by one persistent student, and others by a succession of students over a period of almost a year and a half. Students remained invested in the project and, in some cases, left behind sketches and instructions for the next person who would take up work on “their” panel. We continued to explore related topics in Indigenous Studies classes, and kept the initial composite sketch and teaching materials handy, so we could include new students in the development of the mural. And then… it was finally done! Installing the panels onto concrete required a hammer drill and some volunteer help. Students were excited to see the panels go up and posed for photos with their paintings. That afternoon was our Volunteer Tea, where students share their learning portfolios with the larger Villa Rosa staff and volunteers, and students spoke proudly about the paintings they had worked on. We also celebrated the project with all the students, staff, and the community, at our Awards and Graduation Ceremony at the end of June. We plan to document the process by printing photographs of the mural panels to frame and display inside our building, alongside students’ descriptions and reflections. A big thank you to the MAAE for their financial support of this project! |
THE GARDEN PARTY
R. B. Russell vocational high school art and horticulture show
Report by Janessa Brunet, art specialist
The grant received from the MAAE in spring 2016 made our Art and Horticulture Show possible. Twenty-five students got the opportunity to spend an entire day working closely with professional guest artist KC Adams. Crucial supplies were purchased, including plants, which were specifically requested by the student artists to complete their unique and creative vision.
We began our process just before spring break, as the earth was reawakening, and new green growth was barely visible. While watching nature documentaries on plants, students began experimenting with watercolors, using the video as inspiration. Often we would pause for a more lengthened drawing if students saw something particularly interesting. This included Venus fly-traps or giant ferns found deep in the jungle. |
These watercolor drawings became the cover of their sketchbook. Since they were made with a heavier stock, it was easy to fold the paintings along with white cartridge paper into simple booklets, with staples along the spine, holding them together. These sketchbooks became crucial as we began to work in the horticulture department, drawing and sketching live plants.
With guided instructions, students used a variety of media over the course of two weeks to experiment with different drawing techniques. Focusing mostly on shape and line, students used ink, pencil, oil pastels, string and collage to create images in their sketchbooks. |
This introduced students not only to a loose way of drawing, where there are no right answers, but also to the plants, the greenhouse space, and the students and staff that worked there.
After these exercises we began working with clay. We started with basic vessels and techniques, such as pinch pots and coil building. KC Adams was instrumental in teaching techniques and cultural aspects of working with clay. KC joined us in the art room for an entire school day. Interested students signed up in advance, but those who showed up the day of the workshop were not turned away. When I spoke to KC beforehand, she suggested a small, more intimate group for an extended period of time, which would yield the best experience for the students. She began with an introduction and artist talk, with slides of her work. Rarely had I seen students as engaged and respectful as when she was speaking. |
We began by making seed bombs, which were messy and a lot of fun. First you mix clay, water, topsoil and wildflower seeds all together in a bowl. Then, you roll the mixture into balls, as if you were making cookies and set them out to dry. The idea is that if you’re walking by a boulevard or greenspace, maybe even your own yards, you just drop a seed bomb, and nature will take care of the rest.
In the afternoon, KC taught students to make smudge bowls and rattles using the pinch pot technique. All of the students made smudge bowls, and a handful were able to complete rattles as well. Because she was there all day, KC was able to connect with the students, speaking to them about their lives and culture. KC is a wealth of knowledge and wisdom, and I too came away learning a lot from the experience.
In the afternoon, KC taught students to make smudge bowls and rattles using the pinch pot technique. All of the students made smudge bowls, and a handful were able to complete rattles as well. Because she was there all day, KC was able to connect with the students, speaking to them about their lives and culture. KC is a wealth of knowledge and wisdom, and I too came away learning a lot from the experience.
We began by making seed bombs, which were messy and a lot of fun. First you mix clay, water, topsoil and wildflower seeds all together in a bowl. Then, you roll the mixture into balls, as if you were making cookies and set them out to dry. The idea is that if you’re walking by a boulevard or greenspace, maybe even your own yards, you just drop a seed bomb, and nature will take care of the rest.
In the afternoon, KC taught students to make smudge bowls and rattles using the pinch pot technique. All of the students made smudge bowls, and a handful were able to complete rattles as well. Because she was there all day, KC was able to connect with the students, speaking to them about their lives and culture. KC is a wealth of knowledge and wisdom, and I too came away learning a lot from the experience.
In the afternoon, KC taught students to make smudge bowls and rattles using the pinch pot technique. All of the students made smudge bowls, and a handful were able to complete rattles as well. Because she was there all day, KC was able to connect with the students, speaking to them about their lives and culture. KC is a wealth of knowledge and wisdom, and I too came away learning a lot from the experience.
Students then began to think about their self-portrait plant pot. We spent a few days looking at realistic facial proportions, watching and following along with videos that taught students how to sculpt a realistic face. Then, we looked at examples where the features were exaggerated, simplified, or altogether missing. What could the artist be saying, if for example, their face has no mouth? Students began brainstorming in their sketchbooks, until they were happy with their idea.
This beginning portion was a bit tough. I found that even though we looked at examples of finished products, they had difficulty imagining that they themselves could make such an object. |
In terms of media, we used red clay, and we chose not to use glazes, to keep an earthy feel to the work. As the work was fired, students became more and more excited about the project. Planting the plants was by far the highlight. Students were thrilled that they could choose their very own live plant that would be able to take home afterwards. Students who had been disengaged up until that point, became more enthusiastic, making that extra push to finish their pot so they too could plant. As the pots came out of the kiln, students returned to the greenhouses, where the horticulture students helped them plant. They helped to instruct one another on how much soil to use, how packed down it needed to be, and how much water the plant should have.
As June progressed, there was a decline in attendance in the school in general. Drumming up interest in the show, was had been planned on a Saturday, was difficult. Only a handful of students attended, but the students who did attend made the days worthwhile. They were proud of the way their work was coming together.
The work looked spectacular! The weather cooperated, and we were able to display the work in the courtyard, among lush fruit trees, rose bushes and student-maintained gardens. One grade nine student worked with the woods teacher in his shops class to construct the beautiful plinths on which the work resided. Large, magical-garden themed paintings decorated the walls of the school, and the horticulture students displayed their creative container gardens.
Though we saw a low attendance at the show, the project was a huge success. You may wonder, “How can this be?!” The fact that most of the work went home with students before the summer break is telling. At a school where attendance is something both staff and students struggle with, the fact that students returned to pick up their work is a success in itself.
My time at R.B. Russell was filled with challenges and instances that pushed to become more flexible, creative and innovative with my lessons and projects. The students have so much potential; it was truly an honor to work with them. The staff was incredibly supportive not only in the creation of work but with their involvement in setting up and taking down the show. Thank you MAAE for making this possible.
The work looked spectacular! The weather cooperated, and we were able to display the work in the courtyard, among lush fruit trees, rose bushes and student-maintained gardens. One grade nine student worked with the woods teacher in his shops class to construct the beautiful plinths on which the work resided. Large, magical-garden themed paintings decorated the walls of the school, and the horticulture students displayed their creative container gardens.
Though we saw a low attendance at the show, the project was a huge success. You may wonder, “How can this be?!” The fact that most of the work went home with students before the summer break is telling. At a school where attendance is something both staff and students struggle with, the fact that students returned to pick up their work is a success in itself.
My time at R.B. Russell was filled with challenges and instances that pushed to become more flexible, creative and innovative with my lessons and projects. The students have so much potential; it was truly an honor to work with them. The staff was incredibly supportive not only in the creation of work but with their involvement in setting up and taking down the show. Thank you MAAE for making this possible.