Sheila Orr's artwork Returning Tainted Gifts, 1999, was recently donated to SK Arts' Permanent Collection by the estate of Orr’s friend and former co-worker, Carolyn Cardinal. The mixed-media work captures Orr's signature dreamscape vision style and consists of a miniature bark canoe – anchored by bear claws – that is filled with stacks of bound wool blankets. The canoe is floating in front of a painted aerial view of Canada's east coast. The artwork was conserved to remove dust, dirt and smoke residue upon donation before being placed in a protective custom-built Plexiglas box and frame, a process that took almost two years.
Julia Krueger, Registrar at SK Arts, says the piece is an excellent example of Orr's aesthetic as she is known for incorporating various materials within a single work.
If you asked a group of rural students what an artist is, you might get many different answers. “‘Artist’ can be a vague idea to students—something we see in movies or in books, but not often in real life in a small town,” says Deadra Oblander, a teacher at Bulyea Elementary School. Fortunately, students in the community recently had the opportunity to work with Regina artist Shaunna Dunn on a special project funded by an Artists in Schools—Projects Grant from SK Arts.
“The project allowed students to work with a practicing artist and develop their creative skills. Shaunna’s answers and methods were different than those of ‘regular’ teachers, which allowed students to learn and develop in new ways,” says Oblander.
tansi,
As we observe National Indigenous History Month, I would like to take a moment–personally and on behalf of SK Arts–to acknowledge the rich cultures, resilient histories and profound contributions of Indigenous Peoples across this land.
As an Indigenous artist and the first Indigenous CEO in SK Arts’ 78-year history, this month carries deep personal meaning. It's a time to celebrate our stories, reclaim our narratives and amplify the voices that have long been silenced or overlooked. It is also a time to reflect on the work that still needs to be done–across industries, institutions, and platforms–to ensure Indigenous creators, storytellers and communities are not only seen but centred.
Art:
DJ Tapaquon, Mother Looks On (Her Good Old Stories), 2024
Photo credit: SK Arts
