Preview
FURTHER
Runs until October 3
The New Gallery
Victoria-based artist Marianne Corless observed how the American public rallied around the Stars and Stripes in a display of nationalistic fervour following the terror attacks on the World Trade Centre and the Pentagon. This led to her to think more about Canada and the people who have helped to define this country.
"I wanted to explore Canadian history," she says. "(Americans) appeared to know who they were. Who was I?"
This question was the inspiration for Corless’s most recent exhibition now running at The New Gallery (TNG) entitled Further. The Victoria-based artist has captured the likenesses of important historical figures by representing them in fur as a way to explore Canada’s national identity.
As part of her research, Corless began to read the Canadian history she had skimmed over while obtaining a science degree (University of Victoria, 1994) and studying art (Victoria College of Art, 2001). Through her ruminations, she discovered that much of Canada’s identity can be traced back to the fur trade.
From the early French fur traders of the 17th century to the early trading posts established by the Hudson’s Bay Company, fur, and more specifically beaver pelts, were a source of income and fortune for early settlers. The beaver pelts were used to make felt hats (typically top hats) for European noblemen and merchants alike. Beaver pelts not only fuelled the economy, but became a source of conflict between the French and English, who arrived in the 1600s to establish colonies and reap the rewards of a vast territory that would become Canada.
In total there are eight portraits included in Corless’s show. Among them are Queen Elizabeth II, Sir Wilfrid Laurier and Sir John A. MacDonald festooned in mink, beaver, muskrat, seal and rabbit.
And before any animal rights activists rush down to picket outside of TNG, the artist wants you to be aware that no animals were killed (by her) for the exhibition. Ironically, where Corless finds most of the fur is on the Internet auction site EBay. The raw material for her furry portraits first comes in the form of fur coats, the majority being sold off by Americans.
"It’s all recycled fur," she says. "I pay anywhere from $5 to $100 U.S."
Corless has also used fur to create the other major component of the exhibition – Canadian flags. The idea of taking Canada’s icon and then constructing it from fur is an example of how the artist extends her idea of highlighting our deep roots to the fur trade, by using a contemporary symbol to make the link.
Although many viewers of the show may perceive the fur portraits as a direct criticism of the colonizing forces of England and France, Corless says that is not her intention.
"There is a tension that I’m playing with," she says. "I tried to make sure the portraits were not mocking."
The artist says there was a running joke with her friends that the fur portrait of the Queen should have been presented to the monarch during her royal visit to Canada in 2002 to celebrate her golden jubilee.
"I’m not sure if she would have been offended by it or honoured," says Corless.
Although they may be considered by some to be a rogues’ gallery, these visually appealing portraits work by taking advantage of an unorthodox medium to piques one’s curiosity about Canadian history. These furry depictions of historical figures and Canadian flags are sure to provoke discussion about our identity and, in that regard, the artist has accomplished what she set out to do. |
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