EVERY CHILD MATTERS Story Blocks
PHYLLIS (JACK) WEBSTAD, AUTHOR & HAWLII PICHETTE, ILLUSTRATOR
These Story Blocks are based on Phyllis’s journey before, during and after residential school. Partial proceeds will be donated to Orange Shirt Society and Reconciliation Canada. Each set of Story Blocks comes in a 100% recycled kraft box with a full colour 100% PCW & FSC® 32 page booklet.
Every purchase of EVERY CHILD MATTERS Story Blocks supports Mama-owned and operated Canadian small businesses. EVERY CHILD MATTERS Story Blocks are made with solid Maple and Birch. They are printed with non-toxic inks and have a non-toxic finish. Printing may vary as they are silk-screened by hand. Made in Canada.
Click here to order: www.asoneecd.ca/storyblocks
Road Sign Language - Indigenous Resurgence & Redirections
Solo Exhibition at TAP Centre for Creativity, London ON
Sign Language: Indigenous Resurgence and Redirections is a large scale mixed-media sculptural installation work featuring several road signs, which have been recreated using traditional Indigenous (Cree) materials to raise consciousness about Indigenous peoples’ presence, land dispossession, and future relationships between Indigenous peoples and settlers in Canada. In this work, I use glass cut seed beads, satin and ribbon applique, deer hide, and copper poles to explore the hidden language system of road signs, and ask important questions around: What are our relationships to Indigenous peoples and the land? As a First Nation’s woman, my work indirectly speaks to how Indigenous peoples’ presence has been erased in mainstream society, and how Indigenous peoples’ rights and relationships to land have been ignored through settler colonialism. In this work, I look specifically at the role that traffic signs play in regulating and governing settler relations. Recognizing the powerful nature and purposes of road signs as reinforcing settler rules and regulations, and in doing so, in my opinion, often altering humans’ relationships with each other, the land and animals (e.g. reinforcing land as property as oppose to land as relation and teacher), I appropriate these tools to disrupt and resist their subliminal messages and redirect our attention to Indigenous peoples’ presence, resistance, and relationships to land. In this way, my work is an act of Indigenous resurgence. Through the act of appropriating everyday colonial symbols and texts, and strategically altering them by using traditional Cree materials, I strive to unearth Indigenous ways of knowing and relating to land and privilege Indigenous voices.