Join us in welcoming our 2021 Artist-in-Residence:

Yakonikulanetska Evangeline John

This year, Artcite released a call to BIPOC artists in the region, to consider intersectional themes connected to issues of environmental racism. We are thrilled to work with John to support their artistic practice. John will be activating the Artcite gallery for a full month (exact date to be determined).

Image: provided by the artist

Artist Biography

Shekoli swakweku Yakonikulanestka ni:yaktakats ohkwa:li niwakuhtyo:tʌ Onʌyota’a:ka: niwakuhutsyo:tʌ. 

This opening sentence is a traditional introduction in the Oneida language. It states proper greeting of all beings, then states her traditional name Yakonikulanestka (she of soft mind), is a part of the bear clan and that her nation is the Onyyota’a: ka:(standing stone). 

Yakonikulanestka Evangeline John (she\hers) is an indigenous multi-disciplinary artist, currently finishing her first year of the BFA program at the University of British Columbia, Okanagan Campus. Being raised within her culture by going to ceremonies since childhood gave her strong roots in connection to Indigenous art forms. 

The first journey into revitalization began at age 13 when Evangeline learned how to raised beading. This passion guided her into learning more Indigenous art forms such as wood carving, cornhusk work, flat stitch beadwork, sewing, basketry, and more. Yakonikulanestka’s art has always been Indigenous-focused, bringing awareness to Indigenous issues, and giving positive representations of Indigenous Peoples through art. Most importantly, she devotes her art to the continuation and revitalization of Indigenous art forms.

Artist Statement

We can understand that the roots of environmental racism began-- and continue on-- with colonialism and the idea of the Doctrine of Discovery: the conquest to take the land for profit, driving us toward ecological devastation. This profit is a falsehood of power. This doctrine led to the removal of Indigenous people from their traditional land and territories, penned-in to section areas that are “reserves.” When you remove Indigenous people, you have to wonder: “who now is going to speak for the land?” The silence that followed has led to the mass extinction of the plant and animal species. The silencing of my people through residential schools and other forces of genocidal acts continue to see historical events that have led to today’s major environmental issues and systems of the present. 

My own experience with environmental racism is with the reserves system, my own family displacement because of lack of clean water and the Green lane Landfill that pollutes air, soil and waters, making it hazardous to even just take a bath. To focus on what way can I as an artist bring awareness to these issues but how to help in healing water. Found that by looking at natural pigments with water plants like cattail and water lilies, learning they are not just key for fish oxygen levels during winter but they naturally

purify the waters. When traditionally harvest is not only about giving thanks but also about giving back by cleaning out the invasive species and spreading new seeds. This and my art helps me heal from the feeling of displacement by realizing we are vital parts of ecosystem rejuvenation. 

It's time to wake things up, but how? How to reconnect us to the lands? How to unlearn these systems of oppression? The first step is to realize our connection and ties to the land were never cut in the first place-- we are only gaslighted into believing so by these colonial institutions. As in Haudenosaunee’s perspective, the land is also understood as Yukhinulha (Mother), and you cannot untie the bonds between mother and child. 

Reconnection can happen through the arts. This is what I have learned. I have learned about the plants and their needs, how to harvest them and prepare them for use. I allow myself to make mistakes on the land and learn from them. This is how I hone my craft to bring them back to my community. My main focus this spring-summer will be Reviving Forgotten Colors, dyeing with natural plant and pigments from wild native species, such as water lily, goldenrod, elderberries, bloodroot, sumac, milkweed to name a few. 

I hope to also reawaken porcupine quillwork as an aspect of my learning, being that quillwork is the grandmother of beadwork and holds visual codes on stories that may be keys to our healing. Both quillwork and plant base dyeing are woven into forms of healing for not only myself but my ancestors-- to remember them, to do the things they once loved, to practice their ways of being. People think that this is lost but nothing ever lost - things just go to sleep and It is up to us to wake it up.

Artist biography & statement provided by Yakonikulanestka Evangeline John