Chapter 27: Curatorial label for Gayle Uyagaqi Kabloona

Speaker 0 00:00:00 Chapter 27, curatorial label for Gail Uya Gki Kauna. This chapter is the text written by curator Sandra Dick. It is two minutes long. Speaker 1 00:00:11 The groundbreaking American writer, Audrey Lord famously described herself as black lesbian mother warrior poet Lord, rejected external definitions of her identity that singled out or marginalized any one of these categories. Her poetry, she said, comes from the intersection of me and my worlds. These questions of the part and the whole of identity and belonging are central to the work that Gail Una made for drawing on our history. Born in Ka or baker, as she calls it, to an <unk> father and a white mother. Kauna has long lived away from the community all her life. As she writes on these drawings, she has been asked, what are you, where do you belong? Kauna belongs to making, to drawing, sewing, printmaking, knitting, and building clay pots by hand. She belongs to the objects depicted in these drawings, sharp oos with handles of wood or antler, a stone, a beaded seal skin, Martin Gutti that holds wicks spherical ornaments made from Tarin Gullets called pk, and to the creative acts that give rise to them, she belongs to her family tree whose branches reach West to California and north to init. Nu Una also belongs to the places she's made home. Baker Iwi Ottawa. She belongs to the old stories she heard from her dad when she was a child. She belongs to the extraordinary legacy of visual culture inherited from KA artists, including Victoria Mauk, her grandmother, Jesse unk, her great-grandmother, and Luke an Hadk. Una's work comes from her intersection with all these worlds and many more. Speaker 0 00:02:02 Please move to the next stop, which is in the high gallery or small arm of the L. Follow the path straight for 13 and a half meters. Then turn left and continue for three and a half meters. You are in the high gallery now with a 5.8 meter high ceiling. The drawing is on your left.