commissioned by Dylan Robinson

O'Keefe Centre, Toronto

December 5, 2023

This is version 3.0 of wêpinâsowina.net. As with previous versions (v1-2003, v2-2006), the net.art site is not meant to replace or even replicate how prayer cloths are used, nor does this project intend to share any information as to how, when, or why wêpinâsowin are used within many Indigenous cultural and spiritual practices. For some, it might be a piece of a puzzle that will help lead one on their journey towards teachings and deeper understanding. For others, it may be visually pleasing and an enjoyable few moments of your day to participate and experience the colourful and animated results. My intention in making this website continues to suggest "...that even in cyberspace, our ancestors and the spirits are witnessing us and that guidance is possible if we use our words 'in a good way'." - C L'Hirondelle (2023)

Commissioned by Galerie Galerie with funding from Canada Council for the Arts - Digital Now

Extra funding thanks to Urban Shaman Gallery

to participate: https://galeriegalerieweb.com/wepinasowina/

Entanglements / Emmêlements - curated by Celina Jeffery and Ryan Stec/Artengine, Galerie Karsh-Masson Gallery, Ottawa

This installation focuses on 'akikodiwan' (aka Chaudiere Falls) and the plight of the freshwater eels, whose population has declined by estimates of 98% worldwide due to human encroachment and other environmental distresses such as hydro-electric dams.
In an effort to collaborate with the eels who have inhabited kitche zibi (aka the Ottawa river) since time immemorial, I worked with an interspecies communicator to solicit the willingness of the eels to express how they would like to be depicted and what they wanted humans to remember about how their livelihood is directly in relation to our wellbeing. - Cheryl L'Hirondelle, 2022

Commissioned by Celina Jeffery and Ryan Stec

Funding: Canada Council for the Arts - Creating, Knowing Sharing Program with additional production support by the Australian Government through the Australian Research Council's Discovery Projects funding scheme (project DP170102969) and developed with UNSW EPICentre (Expanded Perception & Interaction Centre), Jennifer Biddle (CI, UNSW) Sydney, Australia.

curated by Dr. Julie Nagam, Nathan Philips Square/Toronto City Hall

created for Constance Hockaday's Artists-in-Presidents: Transmissions to Power project.

to listen to the audio & read more about the transmission:

The Mobius strip (aka the infinity symbol) has, since 1816 been the symbol on the Metis flag. Long before I knew that one of my 32 great-great-great grandfathers was Cuthbert Grant, Lord of the Plains and the first leader of the 'Metis' - who also first flew this flag - I did in fact know something of its meaning as it pertained to how I was raised. In our family, our 'Metis-ness' translated into self-determination, persistence, sheer will and even brute strength when called for.
I don't often make art objects, preferring to conjure and manifest ideas. However the known correlation between diabetes, heart disease and obesity in Indigenous communities and the colonial/commodified shift away from seasonal and a land-based hunting and harvesting lifestyle towards a consumer and processed food dependency needs constant addressing.
My intent with this object - made with naturally harvested maple sugar - is that the co-dependent-gift-that-keeps-giving vicious cycle shifts to an eternal and infinite loop of health and wellbeing.

created for Leah Decter's Oh Oh Canada project:

https://leahdecter.com/oh-oh-Canada