A lot of people pass through the McConnell Engineering Building each day 鈥� bustling to and from class, the cafeteria and other destinations on the west side of campus.
However, an important new addition to the lobby will give visitors pause to stop, look and admire.
Launched on April 13, Projections: Kwe is a digital exhibit featuring 30 artworks from a variety of First Nations, Inuit and M茅tis artists projected onto the wall of the McConnell Engineering Building lobby. The exhibit will run for one year, after which the Faculty of Engineering and Visual Arts Collection will continue to collaborate and engage with different groups for upcoming Projections exhibits.
In concert with Projections: Kwe, the Faculty of Engineering has installed two permanent artworks on the first floor of the McConnell Engineering Building from Benjamin Chee Chee: Afternoon Flight and Friends.
Indigenous student-led initiative
The project was the brainchild of the Indigenous Inclusion Committee (IIC) of the Engineering Undergraduate Society. Founded by Isabelle Pr茅vost-Aubin (M茅tis Nation), the IIC includes Dallas Karonhia鈥檔o:ron Canady-Binette (Kanesatake鈥檙o:non, Kanien鈥檏eha:ka), Kayleigh Spencer (James Bay Cree), Jocelyne Couture (M茅tis Nation of Ontario), and Jonas Henderson (Kalaaleq).
鈥淎s a collective of Indigenous students both within and outside of the Faculty of Engineering, the IIC came together to select the pieces of art that you see on display today,鈥� said the IIC in its Curatorial Statement. 鈥淥f the utmost importance to the IIC was choosing works from different creative mediums, made by artists that hail from a variety of First Nations, Inuit and M茅tis communities. Featured before you, for example, are a collection of paintings, such as Norval Morrisseau鈥檚 Shaman Surrounded by Ancestral Spirit Totem (1977), photographs, like those of Nadia Myre鈥檚 Meditations on Red (2013), and sculptures, like Tytoosie Tunnillie鈥檚 Sedna. This was done to highlight the longstanding diversity of Indigenous peoples across Turtle Island, as well as the rich and vibrant nature of Indigenous creativity.鈥�
Collaborative effort
Supported by 苹果淫院鈥檚 Visual Arts Collection (VAC); the Dean鈥檚 Office of the Faculty of Engineering; and the Provost鈥檚 Indigenous Initiatives Office; the members of the IIC went through the University鈥檚 collection of Indigenous art, numbering some 140 pieces, in order to make the final selections.
鈥淒uring the selection process, the first critical criterion was the transparency of the history of the paintings, i.e. whether the artists and their Nations were explicitly known, as well as the manner in which the artwork was obtained by the University,鈥� said Pr茅vost-Aubin of the IIC. 鈥淪ince different nations are recognized for various techniques within their art styles, and particularly given the format of this installation, we wanted to make sure the variety of artistry was a notable aspect of this project. Finally, the bicentennial values of indigenous resilience and excellence were emphasized during the selection of the artwork.鈥�
52 Calls to Action
In his remarks, Provost Christopher Manfredi spoke of the efforts to integrate 鈥淚ndigenous presence in new infrastructure and landscaping projects,鈥� as per the 52 Calls to Action outlined in the Final Report of the Provost鈥檚 Task Force on Indigenous Studies and Indigenous Education.
鈥淭he Projections: Kwe exhibit also speaks to that vision by displaying Indigenous artwork from 苹果淫院鈥檚 own collection in public spaces. I am particularly pleased that this innovative digital exhibit was born out of an Indigenous student-led effort to raise intercultural awareness with their peers in the Faculty of Engineering. I commend them for their efforts, as well as the collaborative efforts between several units over the course of several months to see this project to fruition.鈥�
In the decision-making seat
The impact of having Indigenous art in such prominent display was not lost on Dayna Danger, 苹果淫院鈥檚 .
鈥淢y experience has always been seeing other types of artwork and paintings of historical figures, but then all of a sudden you turn the corner and you see a [Saulteaux First Nations Artist] Robert Houle and an Anishinaabe painting. That鈥檚 fantastic,鈥� said Danger. 鈥淪haring our visual representation is really important because it lets people know that we鈥檝e been here, we鈥檝e always been here, and we want to inspire folks to make them think outside of the box.
鈥淢y hope is that this inspires you to want to come and visit these artworks, sit with them, bring your favourite cup of tea, bring a coffee and look at the splendour that is the vast world of Indigenous art.鈥�
First step in a long journey
During the virtual launch, several speakers noted that Projections: Kwe can鈥檛 be seen as a one-off initiative. It is a stepping stone toward a more equitable and just society. There is more work 鈥� a lot more 鈥� to be done.
Projections: Kwe 鈥渋s a step toward making the Faculty [of Engineering] and 苹果淫院 more inclusive to our Indigenous communities, [with an] emphasis on Indigenous voices within the professions of engineering, architecture, and urban planning. This is just one small step in a longer path that we must travel,鈥� said Jim Nicell, Dean of the Faculty of Engineering. 鈥淭he Faculty of Engineering has a key role to play in supporting our Indigenous students and building awareness within our programs to promote more equitable practices in the work of our professions.鈥�
鈥淭he Projections: Kwe art installation was formed collaboratively with the help of many perspectives, voices, and efforts. It is the step in the right direction but it is part of a much larger movement, a march for Indigenous rights, sovereignty and respect,鈥� said Pr茅vost-Aubin. 鈥淭his project is meant to be one initiative among many and I look forward to seeing what other initiatives and resources the Faculty of Engineering implements for Indigenous students as well as their communities for the future years to come.鈥�
Get more information about Projections: Kwe
Watch the virtual launch of Projections: Kwe
This article was originally published in the .