BlackFlash Editions are limited-edition archival-quality prints by Canadian photographers Joi T. Arcand, Jayce Salloum, and Lori Blondeau. Each Edition comes with a subscription to BlackFlash magazine.
Lori Blondeau
$150.00
Asiniy Iskwew, 2016, photographic prints, 17.15 x 25.5 cm. Series of four photographs. The photographic series Asiniy Iskwew consists of four images by Manitoba-based artist Lori Blondeau. Blondeau is a Cree/Saulteaux/Métis artist from Saskatchewan, whose performative personas and work challenge media stereotypes of Indigenous women. Blondeau’s Asiniy Iskwew series (“Rock Woman” in Cree) depicts the resilience of Indigenous women in the face of historical and ongoing violence experienced, and survived. The series consists of four photographs, each featuring the artist in carefully staged locations, draped in a long red velvet robe in powerful pose, standing firmly upright, defiant, as she stares into the distance. In each photograph, she stands on a plinth of natural stone, referencing the important connection of stone and rock formations to the traditions of Plains people, who have for countless generations used them for ceremony, for gathering places, or for markers of sacred place. In her staging of the series, Blondeau draws on the history and the cairn site of Mistaseni rock at Elbow Harbour, where Mistaseni — an enormous and sacred glacial boulder — was dynamited in 1966 by agents of the Saskatchewan government to make room for man-made Lake Diefenbaker.2019
Out of stock
Description
Asiniy Iskwew, 2016, photographic prints, 17.15 x 25.5 cm. Series of four photographs.
The photographic series Asiniy Iskwew consists of four images by Manitoba-based artist Lori Blondeau. Blondeau is a Cree/Saulteaux/Métis artist from Saskatchewan, whose performative personas and work challenge media stereotypes of Indigenous women. Blondeau’s Asiniy Iskwew series (“Rock Woman” in Cree) depicts the resilience of Indigenous women in the face of historical and ongoing violence experienced, and survived. The series consists of four photographs, each featuring the artist in carefully staged locations, draped in a long red velvet robe in powerful pose, standing firmly upright, defiant, as she stares into the distance.
In each photograph, she stands on a plinth of natural stone, referencing the important connection of stone and rock formations to the traditions of Plains people, who have for countless generations used them for ceremony, for gathering places, or for markers of sacred place. In her staging of the series, Blondeau draws on the history and the cairn site of Mistaseni rock at Elbow Harbour, where Mistaseni — an enormous and sacred glacial boulder — was dynamited in 1966 by agents of the Saskatchewan government to make room for man-made Lake Diefenbaker.
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Jayce Salloum
$150.00
shrouded…early spring morning from the hotel, Buddha monastery cave site, Bamiyan, Hazarajat, Afghanistan, April 17, 2008, photographic print, 20.25 x 30.5 cm.
In April 2008, Vancouver-based artist Jayce Salloum travelled with Afghan- Hazara artist Khadim Ali from Karachi, Pakistan to Kabul, Afghanistan and then overland into the Bamiyan Valley in Central Afghanistan. Of specific interest to the artists were the ruined cave sites of the c. 5th century Buddhas, destroyed by the Taliban in March 2001. The ruins of the Bamiyan Buddhas provided a site from which to examine the situation of the Hazara people, a persecuted Shi’a Muslim minority, who believe themselves to be descended from the sculptors who produced the colossal figures of the Buddha.
The image shrouded…early spring morning from the hotel, Buddha monastery cave site, Bamiyan, Hazarajat, Afghanistan from April 17, 2008 is a part of دلِ که سوز ندارد, دلِ نیست (the heart that has no love/pain/generosity is not a heart), a multi-media installation that records the destitution of current conditions in Bamiyan while reflecting on the tensions shaping an incipient modernity in Afghanistan. The installation engages a sense of the complexity of the current situation in Afghanistan, taking up themes of the possibility of resistance, hope and beauty in the context of ongoing conflict.
Description
shrouded…early spring morning from the hotel, Buddha monastery cave site, Bamiyan, Hazarajat, Afghanistan, April 17, 2008, photographic print, 20.25 x 30.5 cm.
In April 2008, Vancouver-based artist Jayce Salloum travelled with Afghan- Hazara artist Khadim Ali from Karachi, Pakistan to Kabul, Afghanistan and then overland into the Bamiyan Valley in Central Afghanistan. Of specific interest to the artists were the ruined cave sites of the c. 5th century Buddhas, destroyed by the Taliban in March 2001. The ruins of the Bamiyan Buddhas provided a site from which to examine the situation of the Hazara people, a persecuted Shi’a Muslim minority, who believe themselves to be descended from the sculptors who produced the colossal figures of the Buddha.
The image shrouded…early spring morning from the hotel, Buddha monastery cave site, Bamiyan, Hazarajat, Afghanistan from April 17, 2008 is a part of دلِ که سوز ندارد, دلِ نیست (the heart that has no love/pain/generosity is not a heart), a multi-media installation that records the destitution of current conditions in Bamiyan while reflecting on the tensions shaping an incipient modernity in Afghanistan. The installation engages a sense of the complexity of the current situation in Afghanistan, taking up themes of the possibility of resistance, hope and beauty in the context of ongoing conflict.
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Joi T. Arcand
$150.00
Here on Future Earth: Northern Pawn, South Vietnam, 2009, photographic print, 22.75 x 30.5 cm. Courtesy of the Saskatchewan Arts Board.
Joi T. Arcand is an artist from Muskeg Lake Cree Nation in central Saskatchewan, (Treaty 6 Territory) and is currently based in Ottawa. Her early work in photography and digital collage images was informed by her interest in graphic and typographic arts. Arcand’s practice imagined what an Indigenized public space could be by rendering streetscapes and communities with typographic inclusions of nehiyawēwin, or Plains Cree (Y dialect) language. Her work has evolved to placing site-specific neon signage in Cree syllabics throughout the interiors and exteriors of buildings, expressing phrases which provide hope and encouragement for Indigenous peoples.
Description
Here on Future Earth: Northern Pawn, South Vietnam, 2009, photographic print, 22.75 x 30.5 cm. Courtesy of the Saskatchewan Arts Board.
Joi T. Arcand is an artist from Muskeg Lake Cree Nation in central Saskatchewan, (Treaty 6 Territory) and is currently based in Ottawa. Her early work in photography and digital collage images was informed by her interest in graphic and typographic arts. Arcand’s practice imagined what an Indigenized public space could be by rendering streetscapes and communities with typographic inclusions of nehiyawēwin, or Plains Cree (Y dialect) language. Her work has evolved to placing site-specific neon signage in Cree syllabics throughout the interiors and exteriors of buildings, expressing phrases which provide hope and encouragement for Indigenous peoples.